m4 


NLY    OFFICIAL    PUBLICATION    ON    THIS<;'fUBJECT 


i/LPTVRE&MVRAL5j 

OF   THE 

WIAHMFIC  INTERNATIONAL  EXPOSITiON  1 

OFFICIAL  HANDBOOK  i 


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PUBLICATION    ON    THIS    SUBJECT 


The 

Sculpture  kS^  Murals 

OF    THE 

Panania-Paciric  International 
Exposition 


THE  OFFICIAL  HANDBOOK 

GIVING    THE    SYMBOLISM,   MEANING   AND    LOCATION   OF 

ALL  THE   WORKS,   WITH   INFORMATION 

CONCERNING  THE  SCULPTORS 

AND  ARTISTS 


By  STELLA,  (3.  S.  PERlilY 


Publiflked     by 
THE    WAHLGREEN    COMPANY 

Official    Publishers     to    tbe    Exposition 
San    Francisco,    1915 

Copyrizht  IQIS,  h  the  Wahlgreen  Company 


3  2^jr 


A  a- 


Criticism  IS  tke  vanity  of  tke 
weak.  Appreciation  is  tke 
art  of  noUe  souls. 

— S.  G.  S.  P. 


310094 


Introduction 

This  guide  to  the  sculpture  and  its  symbolism  can  do  no  more 
than  lead  the  imagination  of  the  beholder  in  the  direction  in- 
tended by  the  sculptor.  Each  person  must  feel  and  fancy  for 
himself  the  true  spirit  of  any  work  of  art;  no  one  can  do  this 
for  another. 

Sculpture,  the  art  that  combines  the  human  and  the  heroic,  the 
actual  and  the  ideal,  has  given  the  Exposition  its  most  uplifting 
expression.  To  understand  it  is  to  get  the  very  meaning  of  this 
great  enterprise. 


Symbolism  of  the' Sculptuf $.*.;:*•/- . 
as  a  Whole 

The  Panama-Pacific  International  Exposition  is  the  first  World's 
Exposition  in  which  all  the  sculpture  has  been  planned  around  a 
central  idea.  As  the  Exposition  celebrates  the  opening  of  the 
Panama  Canal,  the  latest  great  work  of  man,  it  is  fitting  that  the 
Spirit  and  Romance  of  Man's  Development,  Energy,  Adventure, 
Aspirations  and  Achievements  should  be  signified  in  the  design. 
And  as  the  Canal  will  unite  the  nations  of  the  world  in  closer 
fellowship  and  understanding,  the  ideal  of  Universal  Brotherhood, 
the  oneness  of  all  the  world,  is  deeply  impressed  upon  the  Expo- 
sition sculpture.  These  two  conceptions  are  merged  and  held 
together  by  a  still  loftier  idea:  Man's  Place  in  the  Universe,  in 
his  relation  to  the  Cosmos,  to  Nature  and  to  the  Divine. 

So  we  may  say  that  the  Exposition  statuary  represents  Man's 
Environment,  Man's  Achievements  and  Man's  Dreams. 

The  Men  Who  Planned  the  Sculptural 
Sequence 

Karl  Bitter,  Chief  of  Sculpture,  and  A.  Stirling  Calder,  Acting 
Chief,  aided  by  a  committee  of  distinguished  artists,  planned  and 
designed  this  great  sculptural  theme — the  first  time  that  all 
the  sculpture  of  an  exposition  has  been  made  in  one  sequence. 
Definite  assignments  were  then  made  to  the  sculptors  artistically 
and  temperamentally  fitted  for  the  motifs  desired. 

The  actual   conduct   of   the   work  was   in   the   hands   of   Mr. 

Calder. 

Karl  Bitter,  whose  recent  tragic  death  removed  one  of  the 
greatest  artists  and  noblest  men,  was  a  native  of  Vienna.  A 
pupil  of  the  Vienna  Academy  of  Fine  Arts,  he  came  to 
America  in  his  young  manhood  and  made  an  early  and  last- 
ing success,  beginning  with  his  winning  the  competition  for 
the  Astor  Memorial  Gates,  Trinity  Church,  New  York  City. 
Among  his  permanent  works  are  the  Doorway  of  the  New 
York  Chamber  of  Commerce,  Beliefs  for  the  Pennsylvania 
Station,  Philadelphia,  and  notable  work  in  the  residences  of 
C.  P.  Huntington  and  Cornelius  Vanderbilt,  New  York  City. 
He  has  won  many  awards  and  been  honored  at  all  Exposi- 
tions.    Was  Director   of   Sculpture   of  the  Buffalo   Exposition. 

For  sketch  of  Mr.  Calder,   see  Fountain  of  Energy,  page  2. 

[1] 


/*  '  Vi  l^ « •  in  the  Sc\    1  Gardens 

Seen  as  you  enter  the  ivlain  Gate  at  Scott  Street 

FOUNTAIN  OF  ENERGY.     By  A.  Stirling  Calder.  Acting 

Chief  of  Sculpture,  Panama-Pacific  International  Exposition. 

Mr.  Calder  is  one  of  the  most  interesting  figures  in  Amer- 
ican art.  His  work  is  keenly  original  in  subject  and  treat- 
ment, and  appeals  to  the  poetic  as  well  as  the  decorative 
sense.  Pupil  of  Pennsylvania  Academy  of  the  Fine  Arts  and 
of  Chapu  and  Falguiere  in  Paris.  Notable  works  in  many 
American  cities,  including  1892  Fountain  of  University  of 
Pennslyvania,  statues  in  Fairmount  Park,  General  Sewell 
Memorial:  Lee  Memorial:  Ryan  Art  Gallery,  N.  Y.,  Franklin 
Inn  Club,  Permanent  Collection  Academy  of  Fine  Arts,  Phila- 
delphia, and  in  Smithsonian  Institute  grounds  in  Washington. 
Winner  of  medals  at  former  Expositions  and  of  many  other  sig- 
nificant awards.  (See  also  Nations  of  the  East  and  Nations 
of  the  West,  Star  Figures  and  Medallions  in  Court  of  the 
Universe,  Flower  Girls  in  Court  of  Flowers.) 

This  wonderful  fountain  is  distinguished  for  its  originality  and 
freedom  as  well  as  for  its  impressive  beauty.  It  has  a  double 
significance : 


THE  PACIFIC,  DETAIL  OF  THE  FOUNTAIN  OF  ENERGY 
[2] 


THE  ^OKTH   SEA,  DETAIL  OF  THE  FOUNTAIN   OF  EJNEKUY 


1 .  It  represents  the  triumph  of  the  Panama  Canal.  The 
splendid  figure.  Energy,  is  mounted  upon  the  globe  as  a  pedestal 
and  divides  the  lands  with  outstretched  hands  to  let  the  waters 
flow.  Fame  and  Glory  ride  upon  his  shoulders  and  trumpet  forth 
his  triumph.  TTie  lines  of  the  sun's  path,  north  and  south,  are 
marked  upon  the  globe  beneath  his  feet;  the  Eastern  and  Western 
hemispheres  are  shown  upon  its  sides.  All  the  oceans  of  the 
world  take  part  in  the  carnival  of  his  glory, — the  Atlantic,  a 
classic  figure  on  a  fish;  the  Pacific,  a  beautiful,  happily  brooding 
Oriental;  the  North  Sea,  brisk  and  powerful,  with  forked  triton, 
and  the  South  Sea,  blowing  a  triumphant  blast.  Lesser  waters 
join  in  the  revels. 

2.  In  its  second  meaning  the  fountain  stands  for  the  Spirit 
of  Human  Energy  in  its  origin  and  destiny.  Edwin  Markham, 
the  poet,  has  called  it  *'The  Coming  of  the  Superman." 
The  trumpet-bearing  figures  on  the  shoulders  of  the  mighty  youth 
are  of  two  sexes  to  indicate  the  dual  nature  of  man,  urging  him 

[3] 


to  greater  triumphs.  His  outstretched  palms  are  held  points 
upward  to  contact  with  the  divine.  The  figures  in  the  two 
hemispheres,  part  fish,  part  animal  and  part  human,  indicate  our 
evolution  from  lower  to  higher  forms  of  life.  The  whole  effect 
is  joyous,  superbly  prophetic  and  confident  of  a  glorious  future. 

THE  MERMAID  (Fountains  in  the  long  pools).  By 
Arthur  Putman. 

Mr.  Putnam  is  prominent  in  the  group  of  California  artists. 
His  work  is  well  known  throughout  America,  especially  for  his 
beautiful  small  bronzes. 

This  lovely  creature — repeated  in  the  two  pools — full  of 
action,  grace  and  vigor,  is  a  fitting  accompaniment  to  the  great 
central  fountain.  The  bifurcated  tail  heightens  the  decorative 
effect,  and  gives  an  added  feeling  of  motion.  The  sea-nymph 
here  depicted  suggests  Tennyson's  "Mermaid": 

And  if  I  should  carol  aloud,  from  aloft 
All  things  that  are  forked  and  horned  and  soft 
Would  lean  out  from  the  hollow  sphere  of  the  sea. 
All  looking  down  for  the  love  of  me. 


I  4  1 


In  the  South  Gardens 
At  the  Base  of  the  Tower  of  Jewels 

CORTEZ  (Equestrian  statue  at  left  of  Tower).  By  Charles 
Niehaus. 

studied  at  the  McMichen  School  of  Design  in  Cincinnati 
and  the  Royal  Academy  in  Munich.  Fellow  of  International 
Artistic  Association  of  Rome.  Honored  in  many  exhibitions 
and  holder  of  many  awards.  Represented  at  all  great  modern 
American  Expositions.  Among  notable  works:  the  famous 
Garfield  in  Cincinnati;  Hahnemann,  Washington;  Astor  Memor- 
ial Doors,  Trinity  Church,  New  York  City;  Pediment,  Appel- 
late Court  House,  New  York  City;  Gibbon  and  Moses,  Con- 
gressional Library,  Washington;  Harrison,  Minneapolis.  His 
work  is  noted  for  its  dignity  and  probity. 

Hernando  Cortez  was  a  Spanish  soldier-adventurer,  one  of  the 
dashing  conquistadors  of  early  American  history.  He  was  born 
in  Estremadura,  Spain,  in  1485.  After  many  years  of  thrilling 
adventures  in  the  West  Indies,  he  conquered  Mexico,  in  1519, 
overcoming  the  Tlascalans  and  the  Emperor  Montezuma.  In 
1523,  he  was  ordered  to  conquer  New  Spain.  He  began  the 
coast  navigation  of  the  Pacific  in  1528.  After  bitter  troubles 
with  rivals  and  followers  in  Mexico,  he  died  in  1547  in  Spain, 
where  he  had  gone  to  appeal  against  the  injustice  of  his  enemies. 
Cortez  was  a  fearless,  unscrupulous,  ruthless  and  brilliant  ad- 
venturer. As  such  Mr.  Niehaus  has  presented  him.  The  graceful, 
kingly,  arrogant,  triumphant,  stern  figure  gives  a  great  sense  of 
dignity  and  power.  But  the  sculptor  has  added,  in  the  counte- 
nance of  Cortez,  a  feeling  of  vision,  as  if  the  conqueror  had  a 
dimpse  of  the  future  of  the  western  lands.  The  perfect  horse- 
manship and  the  impression  of  proud  motion  increase  the  almost 
dazzling  sense   of  romantic   beauty. 

PIZARRO  (Equestrian  statue  at  right  of  Tower).  By 
Charles  Carey  Rumsey. 

Pupil  of  Paul  Bartlett. 

This  splendid  figure,  stern,  rugged,  advancing  grimly  with 
drawn  sword,  sitting  proudly  on  his  handsome  steed,  shows  the 
sculptor's  remarkable  insight  into  the  spirit  of  the  indomitable  and 

[5] 


relentless  Pizarro.  Francisco  Pizarro,  the  conqueror  of  Peru, 
was  born  in  1471,  in  Estremadura,  the  same  section  of  Spain  in 
which  Cortez  saw  the  light  fourteen  years  later.  After  Italian 
campaigns,  Pizarro  went  to  Darien,  where  he  was  put  in  charge 
of  a  colony  in  1510.  He  was  with  Balboa  when  that  explorer 
discovered  the  Pacific  in  1513.  In  1519,  with  the  soldier-priest 
deLuque  and  the  adventurer  de  Amalgro,  he  started  into  the 
wilderness  to  find  and  conquer  the  great  Southern  Empire  of  the 
Incas.  Long  after  the  other  leaders  had  given  up  the  search 
and  most  of  the  followers  had  perished,  Pizarro  and  sixteen  men, 
refusing  to  return  upon  the  ships  that  were  sent  after  them,  con- 
tinued to  brave  perils  and  sufferings  and  were  rewarded  by 
finding  the  rich  cities  of  the  South.  These  Pizarro  conquered 
on  a  later  expedition.  He  forced  the  captured  Inca,  Atahualpa, 
to  fill  a  room  with  gold  as  the  price  of  liberty.  This  treasure 
equalled  $15,000,000  of  modern  coin.  But  the  poor  Inca  lost 
his  life  nevertheless.  The  merciless  conqueror  pillaged,  looted  and 
destroyed  the  cities  or  turned  them  into  Spanish  strongholds.  In 
1535,  he  was  made  Marquis  and  given  great  estates.  Shortly 
afterward,  he  was  slain  by  the  rival  adventurer  de  Amalgro  and 
his  followers. 


I  6  I 


tn 


THE   ADVENTUBEB,   THE   SOLDIEB,    THE   PRIEST    AND    THE    PHILOSOPHER, 
ON   TOWER  OF  JEWELS 


[8] 


The  Sculpture  on  the  Tower  of 
Jewels 

Joy  and  triumph  for  the  present,  glad  and  proud  appreciation 
of  the  historic  past,  and  the  utmost  optimism  for  the  future  ex- 
press the  spirit  of  this  original,  sparkling  tower.  Those  who 
attempt  to  judge  it  by  tradition  alone  or  expect  it  to  be  like  the 
things  that  they  are  accustomed  to  see  fail  to  realize  its  purpose, 
its  forceful  and  courageous  originality  and  the  joyful  bravura  of 
its  message:     All  ye  who  enter  here  leave  care  behind. 

The  shields  of  conquering  men  and  nations,  the  prows  of 
treasure  ships,  the  votive  garlands  of  success,  the  globe  itself 
circled  with  a  joyous  band,  the  classic  columns  of  olden  glory 
supporting  the  glittering  rewards  of  today,  are  bejeweled  as  for  a 
carnival.  Surely  nothing  could  better  express  gladness  and 
festival  than  this  sparkling  and  original  work. 

The  jewels  were  made  in  Austria  by  a  special  process  which 
insured  their  marvelous  brilliancy. 

THE  ADVENTURER,  THE  SOLDIER,  THE  PRIEST 
and  THE  PHILOSOPHER  (over  the  pillars  surrounding  the 
entrance).     By  John  Flanagan. 

Pupil  of  St.  Gaudens,  Chapu,  and  Falguifere.  Represented 
in  French  National  Collection  of  Living  Artists,  Paris.  Among 
other  notable  works:  Clock  on  Congressional  Library,  Wash- 
ington; Aphrodite,  Knickerbocker  Hotel,  New  York;  Frieze 
for  Public  Library,  Newark,  N.  J.;  Memorial,  Smithsonian 
Institute,   Washington,   D.   C. 

These  dignified,  restful  and  impressive  figures  represent  the  his- 
toric side  of  the  jeweled  tower's  message,  and  inject  a  serious  note. 
They  stand  for  agencies  that  have  built  up  our  Western  civiliza- 
tion— the  adventurous  Explorer,  the  conquering  Soldier,  the  grave 
Priest  fired  with  his  mission  to  strange  pf^nles,  and  the  Philoso- 
pher, the  thinker,  who  is  making  the  futi   ,. 

THE  ARMORED  HORSEMAN  (repeated  figure  on  ter- 
race of  Tower).     By  F.  M.  L.  Tonetti. 

A  native  of  France.  Pupil  of  Falgui^re  and  MacMonnies. 
Made  the  Statue  of  Venice,  New  York  Custom  House. 

This  young  knight  in  armor,  facing  the  four  winds  and  every 
corner  of  the  earth,  with  vigor  and  eagerness  for  high  adventure, 
typifies  the  eternal  enterprise  and  romance  of  daring  and  self-con- 
fident youth. 

[9] 


CENTRAL    FIGURE    OF    THE    FOUNTAIN    OF    YOUTH,    WITHIN    THE 
TOWER   OF    JEWELS 


t  10  1 


Within  the  Tower  of  Jewels 

It  is  interesting  to  note  that  the  two  beautiful  fountains  in  the 
Colonnades  of  the  Tower  were   the  work  of  American  women. 


THE  FOUNTAIN  OF  YOUTH  (in  the  Colonnade  to  your 

right  as  you  enter  the  Tower).     By  Edith  Woodman  Burroughs. 

Pupil  of  St.  Gaudens  in  New  York  and  Inglebert  in  Paris. 
Studied  also  at  the  Luc  Oliver  Meeson's  School.  Winner  of 
the  Shaw  Memorial  Prize.  Decorative  sculpture  and  charm- 
ing statues  and  busts  of  children  are  her  specialty.  Exhibited 
in  America  and  Europe. 

The  Fountain  of  Youth,  a  mural  fountain,  is  dominated  by  a 
single  figure, — a  little  girl  rising,  like  the  flowers  she  stands  among, 
from  the  lives  of  her  ancestors.  A  pure,  tender  and  appealing  bit 
of  work!  In  the  frieze  around  the  walls  of  the  fountain  are  in- 
dicated very  touchingly  the  perpetual  search  for  the   fountain  of 


CEJSTEAL    PANEL,    THE    FOUNTAIN    OF    EL    DORADO,    WITHIN    THE 
TOWER  OF   JEWELS 

[11] 


youth   and   the   charm   and   pathos   of   the   voyages    upon   which 
Youth  leads  us. 

EL  DORADO   (in  the  Colonnade  to  your  left  as  you  enter 

the  Tower).     By  Gertrude  Vanderbilt  Whitney. 

Pupil  of  Fraser  and  Andrew  O'Connor.  Honorable  mention 
in  Paris  Salon,  1913.  Made  the  Fountain,  Pan-American  Build- 
ing, Washington,  D.  C.      (See  Exhibits  Palace  of  Fine  Arts.) 

This  mural  fountain,  showing  the  partly  opened  portals  of  El 
Dorado — the  land  of  gold — is  particularly  appropriate  at  a  Cali- 
fornia Exposition.  TTie  doors  through  which  a  tantalizing  glimpse 
of  the  longed-for  land  has  been  seen  by  the  kneeling  suppliants  are 
guarded  by  two  silent,  mysterious  figures.  We  cannot  know 
whether  they  will  open  them  or  swing  them  close  with  pitiless 
indifference,  though  the  fact  that  the  top  of  the  door  is  overgrown 
with  foliage  makes  the  latter  all  too  likely.  The  Aztec  dress  of 
these  strange  guardians  suggests  the  beginning  of  the  legend  of 
El  Dorado.  It  was  thought  that  in  what  is  now  Mexico  or  South 
America,  there  existed  a  rich  land,  the  king  of  which  was  gilded 
and  scattered  jewels  as  one  might  scatter  flowers.  It  was  the 
search  for  this  land  of  the  Gilded  One  that  led  many  of  the 
Spanish  adventurers  into  the  wilderness  and  laid  the  foundation 
for  European  civilization  in  America.  In  the  artist's  concept  the 
Golden  King  has  just  disappeared  through  the  door. 

TTie  frieze  shows  the  rush  and  striving  of  mankind  and  woman- 
kind to  follow  the  lure  of  wealth. 


[12  1 


[13] 


In  the  Court  of  the  Universe 

The  name  of  this  Court  expresses  its  feeling,  and  a  few  mo- 
ments of  quiet  contemplation  here  will  give  the  beholder  a  sense 
of  the  bigness,  grandeur  and  oneness  of  man  and  nature. 

The  two  great  arches,  the  Arch  of  the  NATIONS  OF  THE 
EAST  and  the  Arch  of  the  NATIONS  OF  THE  WEST  face 
each  other  across  the  great  Court.  The  Rising  Sun  and  the 
Setting  Sun  glow  on  their  high  columns.  Earth,  Air,  Fire  and 
Water  mark  the  main  entrances  to  the  sunken  plaza.  Music  and 
Dance  celebrate  the  joy  of  this  concourse,  and  above  all  the  quiet 
Stars  look  down. 

THE  NATIONS  OF  THE  EAST  (on  the  Eastern  arch). 
THE  NATIONS  OF  THE  WEST  (on  the  Western  arch). 
By  A.  Stirling  Calder,  Frederick  H.  Roth  and  Leo  Lenlelli,  col- 
laborators. 

The  general  composition  of  both  groups  is  the  work  of  Mr. 
Calder.  In  the  Eastern  group  the  sculptors'  work  is  divided 
as  follows:  Elephants  and  camels,  by  Mr.  Eoth;  Llama,  Fal- 
coner and  Negro,  by  Mr.  Calder;  the  two  equestrians,  Mon- 
golian and  Arabian,  and  the  two  camel  riders,  Egypt  and 
Assyria,  by  Mr.  Lentelli.  In  the  Western  group:  Pioneer 
Mother,  Spirit  of  Enterprise  and  Hopes  of  the  Future,  by  Mr. 
Calder;  oxen,  prairie  schooner,  Italian,  German  and  the 
Alaskan  Woman,  by  Mr.  Both.  The  four  equestrians,  Latin 
America,  French-Canadian,  Anglo-American,  Indian,  and  the 
Squaw,    by   Mr.    Lentelli. 

(See  also  Fountain  of  Energy,  page  2,  for  sketch  of  Mr. 
Calder.  Note  also  Star  Figures  and  Medallion  In  this  Court 
and  Flower  Girls  In  the  Court  of  Flowers.  For  sketch  of 
Mr.  Lentelli,  see  Genii  on  Columns  this  court,  page 
16.  Note  also  Water  Sprite  Columns  in  Court  of  Abundance, 
and  Aspiration,  on  Fine  Arts  Portal.  For  sketch  of  Mr.  Both, 
see   Pegasus   Spandrels,   this   Court,  page  17.) 

These  majestic  and  imposing  groups  are  not  only  picturesque 
and  beautiful  in  etfect  and  idealistic  in  intention,  but  they  also 
have  a  striking  architectural  mass  effect  and  high  decorative  value. 
They  are  admired  as  unusual  examples  of  good  pyramidal  compo- 
sition, being  a  group  of  architectural  triangles  with  the  weight  well 
placed  at  the  bases. >. 

The  two  groups  representing  the  Orient  and  the  Occident, 
facing  each  other  across  the  Court,  symbolize  the  brotherhood  of 
man  and  the  ideal  of  Hands  Around  the  World. 

[14] 


115] 


The  central  figure  of  the  Eastern  group,  the  massive  elephant, 
is  balanced  by  the  prairie  schooner  of  the  Western. 

Around  the  richly  decked  elephant  advance  figures  that  sym- 
bolize the  spirit  and  history  of  the  Nations  of  the  East.  Of  these, 
the  Chinese  Llama  and  the  Arab  Falconer  in  the  foreground  have 
been  particularly  admired. 

On  the  arch  below  this  group  are  inscriptions  significant  of  the 
highest  thought  of  Oriental  sages. 

The  peoples  that  have  made  Western  civilization  face  the 
Eastern  group.  This  interesting  tableau  of  brave  and  hardy 
spirits  has  been  popularly  called  "TTie  Pioneers."  On  the  tongue 
of  the  Prairie  Schooner,  between  the  oxen,  in  the  place  of  honor 
stands  a  beautiful  girlish,  but  strong  and  womanly  figure,  a  model 
of  simplicity, — a  young  pioneer  mother  looking  fearlessly  across 
desert  and  danger,  out  into  the  future.  Mr.  Calder,  who  made 
her,  calls  her  **The  Mother  of  Tomorrow."  Notable  also  in  the 
group  and  worthy  of  being  kept  in  permanent  form  are  Mr.  Roth's 
realistic  and  touching  figure  of  the  burdened,  trudging  Alaskan, 
and  Mr.  Lentelli's  graceful,  dashing,  debonair  equestrian  Latin 
America.  Above  this  group  of  sturdy  pioneers  rides  "The  Spirit 
of  Enterprise,"  a  winged  figure,  flanked  by  "The  Hopes  of  the 
Future,"  inspiringly  indicated  by  two  lads,  one  white  and  the 
other  Negro. 

Below  this  group  are  the  noble  words  of  Western  thinkers, 

(These  and  other  inscriptions  on  the  Exposition  walls  and 
arches  were  selected  by  Mr.  Porter  Garnett.) 

GENII  STATUES  ON  COLUMNS  (Arches  of  East 
and  West).      By  Leo  Lentelli. 

Mr.  Lentelli  is  a  Latin  American,  a  native  of  Italy.  Though 
still  a  young  man,  born  in  1877,  he  has  attained  distinction. 
He  is  well  known  throush  his  Christ  and  other  figures  upon 
the  Cathedral  of  St.  John  the  Divine,  and  his  Memorial  to 
Mr.  and  Mrs.  Isadore  Strauss,  New  York  City,  where  he  has 
also  done  much  decorative  sculpture. 

(See  also  Nations  of  East  and  West,  above,  and  Water  Sprite 
columns  in  Court  of  Abundance  and  Aspiration  over  Portal  of 
Fine  Arts.) 

The  quiet  Guardian  Spirit  stands  serene,  in  dienified  repose, 
as  if  resting  to  observe  and  to  protect  the   great  Court  and  all 

[16] 


within  it.  This  impressive,  reverent  and  imaginative  work  merits 
the  repetition  it  has  received.  The  sculptor's  remarkable  versa- 
tility can  be  seen  by  comparing  this  serious  angel  with  his  works 
in  gayer  mood,  listed  above. 


PEGASUS,  SPANDRELS  (Arches  of  East  and  West). 
By  Frederick  G.  R.  Roth. 

(See  also  Nations  of  East  and  West,  above.) 
Pupil  of  Hellmer,  Meyerhelm,  and  Academy  of  Fine  Arts, 
Berlin.  Winner  of  medals,  St.  Louis  and  Buenos  Aires.  His 
work  on  St.  Louis  and  Buffalo  Expositions  won  wide  atten- 
tion and  awards.  Represented  in  Metropolitan  Museum,  New 
York  City. 

Pegasus,  the  winged  steed  on  which,  according  to  classic  leg- 
end, the  poet  rides  in  his  flights  of  inspiration,  has  been  chosen 
as  the  subject  of  these  lovely  spandrels.  East  or  West  from  Earth 
or  Sea,  among  the  stars  and  sun  and  the  creatures  of  the  sky  and 
the  imagination,  Man,  too,  can  ride  and  rise, — on  the  wings  of 
Poetry. 


MEDALLIONS:     NATURE  AND  ART  (on  Arches  of 
East  and  West).     By  A.  Stirling  Calder  and  B.  Bufano. 

For  sketch  of  Mr.  Calder,   see  Fountain  of  Energy,   page  2. 
Mr.  Bufano  is  a  pupil  of  Fraser. 

These    decorative    medallions    indicate    with    much    charm    the 
themes  of  Nature  and  Art. 


STARS  (on  Colonnades  of  Court  of  Universe  cUid  Forecourt 
of  Progress).     By  A.  Stirling  Calder.        '.     _    ;,/    . 

(See  Fountain  of  Energy,  Nations  of  East  and  West,  Medal- 
lions,   Flower   Girls.) 

Around  all  the  efforts  and  aspirations  of  man  and  Nature,  stand 
the  still  stars  looking  on.  This  line  of  beautiful,  semi-convention- 
alized figures  with  jewels  in  their  crowns,  gives  a  sense  of  bigness, 
brightness,  serenity  and  universality.  Note  the  gentle  motion  of 
the  draperies.  The  circling  arms  about  each  starry  head  add  to 
the  symmetry  and  indicate  the  oneness  of  the  universe. 

-     '  [17] 


STAB  FIGURE,   COURT  OF  THE  UNIVERSE   AND  FORECOURT  OF   STARS 


[  18] 


iOUNTAIN    OF    THE    RISING    SUN,    COURT    OF    THE    UNIVERSE 
[  19  ] 


THE   SETTING    SUN,    FOUNTAIN,   COURT  OF   THE   UNIVEBSE 
[20] 


SIGNS   OF   THE    ZODIAC    (frieze   on    corner   pavilions). 

By  Hermon  A.   MacNeil. 

Pupil  of  Chapu  and  Falguifere,  in  Paris.     Four  years'   study 
in  Borne  as  winner  of  Bhinehart  Scholarship.     Did  important 
work  at  all  great  American  Expositions  and  at  Paris.     Holder 
of  high  awards.    Made  the  Main  Cascade  at  St.  Louis.    Among 
permanent  works:     McKinley  Memorial,   Columbus,  Ohio;    Sol- 
diers'   and    Sailors'    Monument,    Albany,    N.    Y.;    Decorations, 
^^       Marquette   Euilding,    Chicago;    Statues   at    Cornell   University, 
^■p       and    at    Fegbody    Institute,    Baltimore.      His    Indian    studies, 
i^»        especially  TS$t9mm-^ow  and   The  Moqui   Snake   Dance,   have 
won  international  fame.     (See  also  Column  of  Progress.) 

This  harmonious  frieze  in  low  relief  continues  the  idea  of  the 
Star  figures  about  the  colonnades,  indicating  the  scope  and  seren- 
ity of  the  universe  and  the  steady  passage  of  the  years  as  the 
constellations  sw^ing  above  us. 

The  signs  of  the  Zodiac,  Aries  the  Ram,  Taurus  the  Bull, 
Gemini  the  Twins,  Cancer  the  Crab,  Leo  the  Lion,  Virgo  the 
Maiden,  Libra  the  Scales,  Scorpio  the  Serpent,  Sagittarius  the 
Archer,  Capricornus  the  Goat,  Aquarius  the  Water  Bearer,  and 
Pisces  the  Fishes,  each  bearing  its  symbol  in  its  hand,  move  softly 
onward  in  their  course  about  Atlas  or  Time,  the  central  figure. 
Hieir  slow  motion,  almost  repose,  suggests  permanence,  inevit- 
ability. A  swifter  motion  would  have  spoiled  the  suggestion  of 
steadiness;  and  perfect  rest  would  not  have  given  the  sense  of 
sequence. 

The  zodiacal  signs  were  originated  by  the  Babylonians,  2100 
years  before  the  Christian  era. 

THE  RISING  SUN,  THE  SETTING  SUN  (two  foun- 
tains).    By  Adolph  A.  Weinman. 

Pupil  of  Martiny,  St.  Gaudens,  Clin  Warner,  Niehaus,  and 
French.  Winner  gold  medal  of  honor  Architectural  League, 
1913,  and  many  other  awards.  Bepresented  at  St.  Louis  ana 
Buffalo  Expositions.  Among  permanent  works:  General 
Macomb  Monument,  Detroit;  Soldiers'  and  Sailors'  Monument, 
Baltimore;  Lincoln  Statue,  State  House,  Frankfort,  Kentucky; 
Colonel  Vilas  Monument,  Vicksburg  National  Park;  decorative 
sculpture,  Wisconsin  State  Capitol,  and  New  York  Municipal 
Building. 

High  in  the  air  upon  the  shafts  of  light  in  the  center  of  the 
Court  of  the  Universe  stand  the  Rising  and  Setting  Sun. 

Nothing  at  the  Exposition  has  been  more  admired  than  these 
superb  winged  figures.     Nothing  shows  truer  inspirational  fire. 

[  21  ] 


The  Rising  Sun  has  been  called  by  a  poet  "The  Wings  of  the 
Morning.'*  And  this  lithe,  beautiful  youth,  a-tiptoe,  poised  with 
outstretched  wings  as  if  eager  for  the  flight  across  the  heavens, 
could  not  be  better  described.  He  stands  for  hope,  faith,  courage, 
inspiration,  renewed  vigor,  all  that  we  associate  with  the  sunrise. 
When  seen  against  the  sky  with  a  cloud  floating  behind  him,  it  is 
not  difficult  to  believe  the  figure  actually  in  motion. 

Opposite  him,  The  Setting  Sun,  a  graceful,  female  figure  folds 
her  wings  above  her  head,  making  a  soft  and  comforting  twilight, 
and  sinks  gently  to  her  radiant  rest. 

The  shafts  bearing  these  figures  are  translucent.  At  night  they 
are  illuminated  from  within  and  glow  like  columns  of  light. 

At  their  bases  the  water  gushes  forth  into  bowls  borne  by 
winged  mermen.     Happy  sea  creatures  disport  in  the  lower  basins. 


THE  ELEMENTS:  EARTH.  AIR.  FIRE  and  WATER 

(four  large  reclining  figures  at  top  of  main  stairways  into  sunken 

garden).     By  Robert  I.  Aitken. 

A  native  of  San  Francisco.  Winner  of  the  1916  gold  medal 
of  the  American  Architectural  League,  New  York.  Student 
of  the  Mark  Hopkins  Institute,  of  Mathews  and  Tilden. 
Further  studies  in  Paris.  Much  of  Mr.  Aitken' s  earlier  work, 
as  the  McKinley  Monument,  the  Bret  Harte  Monument,  and 
the  American  Navy  Memorial  appear  in  San  Francisco;  some 
fine  specimens  of  his  later  method  are  exhibited  in  the 
Palace  of  Fine  Arts.  His  portrait  busts  of  Madame  Modjeska, 
President  Taft  and  David  Warfield,  and  the  Greenhut  and  Gates 
Mausoleum  Doors  are  widely  known.  (See  also  Fountain  of 
Earth,   Court  of  Abundance.) 

These  titantic.  symbolic  figures  of  the  Elements  show  the  sweep, 
precision  and  realism  that  this  sculptor  can  so  well  combine  with 
poetic  imagery. 

AIR  holds  a  star  in  her  hair  and  looks  downward  upon  human- 
kind. Birds  fly  about  her,  their  wings  continuing  harmoniously 
the  beautiful  lines  of  hers.  Back  of  her  we  see  a  small  human 
figure  strapped  to  the  great  wings — striving,  as  man  is  now  striving, 
to  mount  on  the  wings  of  the  wind. 

EARTH  sleeps,  passive,  potent,  fruitful,  while  small  human 
figures  toil  about  her. 

122] 


FIRE,  full  of  action  and  the  suggestion  of  sound,  the  lightning 
in  his  hand,  plays  with  the  salamander;  and  wind-blown  WATER, 
calling  lustily,  wells  to  the  surface,  with  triton  and  seaweed. 


MUSIC  AND  DANCE  (at  the  east  and  west  staircases  into 
sunken  garden).     By  Paul  Manship. 

studied  St.  Paul  Art  School,  Pennsylvania  Academy  of  Fine 
Arts,  and  American  Academy  at  Rome.  Mr.  Manship  was 
chosen  to  design  the  medal  presented  by  New  York  to  Colonel 
Goethals.  Winner  of  the  Barnett  prize,  National  Academy, 
and  Widener  Medal,  Pennsylvania  Academy.  Represented  in 
Metropolitan  Museum  of  Art.  His  method  is  a  combination 
of  classicism  and  freedom. 

These  groups,  highly  decorative  and  composed  with  very 
gratifying  dignity  and  mass,  express  a  musical  mood  with  great 
success.     The  heavy  garlands  of  flowers  are  beautifully  expressed. 


[23] 


[24] 


[25] 


THE  ADVENTUBOUS  BOWMAN,  CX)LUMN  OF   PBOGBESS 
[S6] 


Forecourt  of  the  Stars 

Looking  toward  the  Bay  from  the  Court  of  the  Universe,  the 
eye  traverses  the  Forecourt  of  the  Stars  and  is  arrested  at  the 
Marina  by 

THE  COLUMN  OF  PROGRESS   (or  COLUMN  OF 

HUMAN    ACHIEVEMENT).      By    Hermon    A.    MacNeil 

(crowning  group,  frieze  and  decoration),  and  Isadore  Konti  (bas 

relief,  four  sides  of  pedestal). 

For  sketch  of  Hermon  A.  McNeil,  see  Signs  of  Zodiac,  page  21. 
Isadore  Konti  is  an  Austrian-American.  Student  of  the 
Imperial  Academy  and  the  Meisterschule  of  Kundmann, 
Vienna.  Two  years  scholarship  in  Home.  Distinguished  work 
and  high  awards  at  former  American  Expositions.  Among  other 
permanent  works:  Group  for  International  Bureau  of  Amer- 
ican Bepublics  Building,  Washington;  McEinley  Memorial, 
Philadelphia;  Belief  on  doors  of  Grace  Church,  New  York 
City;  "The  Brook,"  Yonkers,  New  York;  Carson  and  Beal 
Monument,  Washington;  "Awakening  of  Spring,"  "Inspira- 
tion,"  and  others  frequently  exhibited. 

The  Column  of  Progress  is  a  noble  and  serious  work  and  one 
of  the  Exposition's  great  contributions  to  contemporary  art.  It 
is  the  first  sculptured  column  ever  made  and  the  first  to  be  in- 
spired by  a  purely  imaginative  and  poetic  theme. 

Its  keynote  is  optimism,  faith,  courage  and  the  constant  up- 
ward progress  of  mankind. 


FBIEZB  AT  BASE  OF  COLUMN  OF  PB0GRE8S 
[27] 


tHLtU.i!:    AT    UASiE    OF    COL-UAlxN    OF    l'UOUKl!;»S 

TTie  sculptured  shaft  itself  shows  by  an  ingenious  device, — The 
Ship  of  Life  winding  upward  on  long  spiral  waves — the  slow  but 
constant  ascent  of  man. 

The  pedestal  frieze  presents  the  aspirations,  inspirations  and 
labors  of  humankind  pressing  onward  through  the  ages  to  many 
goals  of  endeavor.  Aspiration,  Thought  and  Love  are  keynotes 
of  the  panel  facing  the  bay.  Labor,  Patience,  Hope  and  Duty 
underlie  the  panels  facing  westward  and  eastward, — the  eastern 
indicating  the  more  comprehensive  toils  of  mind  and  body,  as  the 
arts  and  crafts,  government  and  invention,  while  the  western  ex- 
presses the  simple  tasks  of  the  common  day.  But  in  all  we  see  the 
dream  that  moves  the  world  and  the  stars.  Each  person  in  each 
age  follows  his  own  bent,  or  talent ;  but  all  aspire  together. 

The  panel  over  the  doorway  shows  by  its  trumpets,  its  palms 
and  its  glad  note  of  achievement  the  triumphs  that  mark  each  age 
and  stir  mankind  onward  to  greater  and  greater  service  and  accom- 
plishment. 

At  the  top  of  the  colunm,  supported  on  the  shoulders  of  a 
circle  of  toilers,  the  Adventurous  Bowman — the  leader,  the 
achiever,  the  man  who  dreams  and  dares — shoots  his  arrow  into 
the  sun.  He  is  a  splendid,  commanding  figure  full  of  fire  and 
feeling,  and  the  sun  into  which  he  shoots  is  the  Sun  of  Truth. 
The  woman  kneeling  beside  him  otfers  the  reward  of  his  glory, 

[28] 


FRIEZE  AT  BASE  OF  COLUMN  OF  PROGRESS 

and  the  encouragement  of  her  hope.  Behind  his  flowing  mantle 
the  next  man  waits,  shielded  by  him,  supporting  him,  ready  to 
take  up  his  work  when  he  leaves  it. 

A  fine  ideal  in  this  column,  and  wonderfully  expressed! 


FRIEZE  AT  BASE  OF  COLUMN  OF  PKOGKKSS 
[29] 


F 

''im 

■ 

f-^--^^ 

.] 

1  j  Wh 

'"  ^^^H 
*!^^l 

p< 

^M 

THE   FEAST  OF   SACRIFICE,   COURT   OF   FOUR    SEASONS 


[30] 


In  the  Court  of  the  Four  Seasons 

The  stately,  quiet,  classic  Court  of  the  Four  Seasons  is  restful, 
serene  and  satisfying  in  the  extreme.  Its  architecture  is  so  simple, 
so  pure  and  so  faultless  that  it  placed  a  severe  responsibility  upon 
the  sculptors  who  embellished  it. 

The  faintest  deviation  from  exquisite  harmony  and  accordance 
with  classical  ideals  would  have  marred  the  calm  perfection  of 
the  Court.  That  the  sculptors  have  been  able  to  increase  its 
loveliness  is  indeed  a  triumph. 

THE  HARVEST  (above  the  half-dome).  By  Albert 
Jaegers. 

Winner  in  many  competitions  of  National  Sculpture  Society. 
Mr.  Jaegers  was  practically  self-taught  in  sculpture.  Did 
important  work  on  St.  Louis  and  Buffalo  Expositions.  Per- 
manent works:  Fine  Arts  Building,  St.  Louis;  New  Custom 
House,  New  York  City;  many  portrait  works;  Baron  Von 
Steuben  Statue  for  United  States  Government,  Washington, 
of  which  replica  sent  by  Congress  to  Emperor  of  Germany. 
Decorated  by  Kaiser.  Mr.  Jaegers'  work  always  combines 
correctness  with  freedom  and  virility.  (See  also  Bain,  Sun- 
shine, and  Feast  of  Sacrifice,  this  Court.) 

This  is  one  of  the  best  examples  in  modern  art  of  architectural 
or  decorative  sculpture.  Observe  how  faultlessly  the  group  crowns 
and  blends  with  the  architecture  of  the  half-dome  it  enriches  and 
with  the  lines  and  spirit  of  the  Court  itself. 

The  richness  of  the  harvest  and  the  fruitfulness  of  the  earth  are 
symbolized  by  the  superb  goddess  seated  upon  an  overflowing 
horn  of  plenty,  holding  in  her  outspread  arm  a  sheaf  of  grain  and 
supplemented  by  a  beautiful  boy  bearing  a  fruitful  vine. 

The  poise  and  balance  of  the  group  are  gratifying. 

RAIN  AND  SUNSHINE  (figures  on  tops  of  columns).  By 
Albert  Jaegers. 

(See  Harvest,  above,  and  Feast  of  Sacrifice  following.) 

These  lovely  attendants  of  The  Harvest  are  by  the  same 
sculptor.  RAIN  shows  the  nymph  of  the  fields  shielding  her  head 
with  a  cloudy  garment,  but  holding  up  gratefully  her  shell-like 
cup  to  be  filled  by  the  welcome  rain.     In  SUNSHINE  she  shades 

[31] 


her  face  with  a  graceful  palm  branch,  but  looks  up  gratefully  still 
to  the  warmth  and  brightness  that  enfold  her. 

FEAST  OF  SACRIFICE  (groups  on  pylons  of  the  fore- 
court).    By  Albert  Jaegers. 

(See  also  Harvest  and  Bain  and  Sunshine  above.) 

The  Feast  of  Sacrifice  fittingly  marks  this  Roman  Court  that 
typifies  the  earth's  richness.  It  recalls  the  ancient  custom  of 
celebrating  the  harvest  and  giving  thanks  to  the  gods  by  the 
sacrifice  of  a  handsome  bull.  The  garlanded  bull  is  full  of  action 
and  energy,  yet  poised  to  give  a  fine  and  restful  mass  effect.  The 
comely  youth  and  maiden  who  lead  and  guide  him  bear  sacri- 
ficial garlands  too. 

THE  SEASONS  (SPRING,  SUMMER,  AUTUMN  and 
WINTER,  four  groups  above  the  cascades  in  the  niches).  By 
Furio  Piccirilli. 

Furio  Piccirilli  is  a  member  of  a  distinguished  family  of 
sculptors.  Educated  in  New  York  and  in  San  Luca  Academy 
at  Bome.    Has  done  beautiful  private  portrait  work. 

The  exquisitely  composed  groups  of  the  Seasons,  while  purely 
classic  in  treatment  and  in  effect,  are  novel  and  original  in  their 
conception  of  what  might  have  seemed  a  hackneyed  theme. 

The  sculptor  has  thought  of  the  year  as  a  whole,  and  not 
strongly  marked  into  sections.  Therefore  the  seasons  blend  into 
one  another.  They  fittingly  express  the  gentle  changes  of  Cali- 
fornia's seasons,  perhaps,  rather  than  the  more  rigorous  divisions  of 
sterner  climates. 

There  is  in  each  of  them  a  gentle  pathos,  a  something  tender 
and  pensive,  as  of  regret  at  the  hastening  of  time. 

SPRING,  a  maiden,  shows  new  life  springing  from  the  old.  The 
poetry  of  spring,  the  stirring  of  inward  beauty,  the  dawn  of  love 
are  felt  as  much  as  the  beauty  of  the  garland  of  spring  flowers. 

SUMMER — Here  is  a  summer  more  tender  than  triumphant. 
It  indicates  the  young  or  early  harvest  of  life  and  nature,   that 

[32] 


harvest  of  first  fruits  that  bears  promise  of  a  greater  one  to  come. 
This  is  symbolized  by  the  newly-born  infant,  combining  fulfill- 
ment and  promise,  and  in  the  fast-growing  grain. 

AUTUMN — Perhaps  the  most  admired  of  the  four  groups, 
comes  Autunm,  a  beautiful  expression  of  richness  and  fruition,  with 
the  harvested  grape  and  grain,  the  jar  of  wine  or  oil,  the  lusty 
child  and  the  general  sense  of  mental  and  physical  soundness.  This 
Autumn  might  almost  as  well  be  called  "California."  Here,  too, 
is  the  wistful  touch,  a  sense  of  the  year's  swift  passing  that 
humanizes  this  series. 

WINTER — As  the  gladness  of  the  other  seasons  has  been 
touched  by  a  note  of  pathos,  the  sadness  of  Winter  is  relieved  by 
a  touch  of  joy  and  hope.  The  Winter  seems  seer  and  old,  indeed, 
but  instinct  with  life  and  the  promise  of  its  bright  renewal. 


ATTIC  FIGURES  and  SPANDRELS.  By  August  Jae- 
gers. 

Brother  of  Albert  Jaegers  and  pupil  of  St.  Gaudens. 

The  satisfying  and  well-balanced  repeated  figure  in  the  attic 
of  this  court  holds  two  full-bearing  fruit  trees,  a  treatment  as 
original  as  it  is  pleasing  and  appropriate  to  this  court  that  cele- 
brates the  fruits  of  the  earth.  In  harmony,  too,  are  the  spandrel 
figures  bearing  fruit  and  grain. 

\ 


[33] 


SPBINS,  COUBT  OF  THE  FOUB  SEASONS 
[84  J 


SUMMEE,   COUBT  OF  THE  FOUB   SEASONS 
[85] 


AUTUMN,    COUBT  OF   FOUB   SEASONS 


[36] 


WINTER,    COURT   OF    FOUR    SEASONS 
[37] 


Forecourt  of  Ceres 

Elssentially  part  of  the  Court  of  the  Four  Seasons  is  the 
Forecourt  of  Ceres,  in  which  we  see,  as  we  look  from  Four  Seasons 
to  the  Marina,  the  work  that  gives  this  court  its  name: 

THE    FOUNTAIN    OF    CERES.       By    Evelyn    Beatrice 

Longman. 

studied  at  Art  Institute  of  Chicago,  where  she  took  first 
honors.  Was  assistant  in  the  studio  of  Daniel  Chester  French. 
Medal  at  St.  Louis  Exposition,  where  her  Winged  Victory 
was  much  admired. 

Ceres  or  Demeter  was  the  goddess  who  presided  over  agri- 
culture and  the  earth's  abundance.  It  was  she  who  instructed 
man  in  the  use  of  the  plough  and  by  her  favor  alone  came  the 
good  harvest. 

Here  we  see  her,  a  light  but  queenly,  graceful  and  gracious 
figure,  rather  younger  than  she  is  usually  pictured.  She  extends 
to  the  waiting  world  her  crown  of  summer  and  her  sceptre,  the 
growing  corn. 

The  pedestal  on  which  she  stands  is  a  thing  of  beauty.  The 
frieze,  in  low  relief,  shows  dancing  maidens  celebrating  the  feast 
of  Ceres,  which  was  the  prototype  of  the  festivals  of  Harvest 
Home  and  Thanksgiving. 


[38] 


FOUNTAIN  OF  CERES,   FORECOUBT   OF   CERES 
[39] 


[40] 


THE   MIDDLE   AGES,    SECOND   GROUP,   TOWER,    COURT  OF   ABUNDANCE 

[41] 


THE  PRESENT  AGE,   CROWNING  GROUP,  TOWER,   COURT  OF   ABUNDANCE 

[42] 


In  the  Court  of  Abundance 

TTie  rich,  alluring  and  supremely  beautiful  Eastern  Court, 
called  the  Court  of  Abundance,  was  originally  styled  "The  Court 
of  Ages."  The  idea  of  man's  growth  in  physical  dignity  and  in 
thought  and  spirit  throughout  the  age-long  struggle  that  developed 
him  is  the  motif  of  the  decorative  and  monumental  pieces. 

The  sculpture  in  this  court  is  deeply  symbolic,  but  so  dramatic 
and  direct  that  its  meaning  reaches  us  easily. 

However,  no  person  can  give  to  another  all  the  spiritual  in- 
tuition of  works  so  poetic  as  these.  It  is  necessary  for  each  to 
"invite  his  soul"  and  to  interpret  the  inner  message  of  the  artist 
for  himself. 

THE  GROUPS  ON  THE  TOWER  OF  ABUNDANCE. 

By  Chester  A.  Beach. 

A  native  of  San  Francisco.  One  of  the  most  interesting 
of  the  younger  men  in  American  art.  Memher,  National 
Sculpture  Society,  American  National  Academy,  and  Archi- 
tectural League  of  New  York.  Best  known  for  his  medal- 
lions and  decorative  work.  Member  American  Numismatic 
Society.     Winner  of  Bartlett  prize,  American  Academy,   1909. 

These  three  groups  are  really  part  of  the  same  great  conception 
and  may  be  treated  as  one  theme. 

They  express  the  evolution,  change  and  growth  of  men. 

First  group  at  the  base  of  series : 

At  the  bottom  of  this  group  you  see  the  slimy  saurian,  the 
creatures  of  the  ooze, — the  lowest  forms  of  life.  Above  them,  in 
the  Stone  Age,  rise  the  cave  man  and  the  savage,  crude  figures 
still  suggesting  the  animal  in  the  human.  But  at  the  apex  of  this 
lowest  group  we  see  a  higher  state  beginning, — the  conception  of 
family  love  and  unity,  the  ideal  that  brought  about  racial  develop- 
ment. 

Second  group,  as  you  look  up  the  tower: 

Here  is  a  step  higher  in  the  upward  growth  of  our  common 
life.     Here  is  the  great  Middle  Age.     The  priest  and  the  soldier, 

[43] 


the  skillful  bowman  of  that  day,  are  placed  one  on  each  side  of 
the  central  figure,  the  Crusader,  holding  aloft  the  ideal  for  which 
he  is  willing  to  battle. 

Third  group— The  Shrine : 

So  we  advance  upward  and  onward  until  we  reach  the  last 
and  greatest  state  of  mankind,  the  present  age.  This  is  symbolized 
by  the  Woman  Enthroned,  Enshrined  and  Crowned,  with  her 
children — the  Future — at  her  feet.  Glowing  altar  torches  stand 
beside  her. 

MUTATION   (side  figures  on  the  great  tower).     By  Chester 

A.  Beach. 

(See   above.) 

Still  a  part  of  the  main  idea  of  Evolution,  these  two  symbolic 
figures  mean  Mutation  or  Change.  They  show  a  man  and  a 
woman  in  the  throes  of  the  struggle  from  lower  to  higher  planes. 
The  man's  old  animal  self  can  be  vaguely  seen,  a  crude  hand, 
gripping  his  foot  and  trying  in  vain  to  hold  him  back.  The 
woman  struggles  upward  out  of  the  clutch  of  intellectual  slavery, — 
a  veiled  figure,  barely  distinguishable  at  her  feet. 

THE  FOUNTAIN  OF  THE  EARTH  (main  pool.  Court 
of  Abundance).      By  Robert  I.   Aitken. 

(For  sketch  of  Mr.  Aitken,  see  under  The  Elements,  Court  of 
the  Universe,  page  22.) 

Here  is  a  tremendous,  serious  and  magnificent  piece  of  work. 
It  has  rare  and  dramatic  depth  of  meaning,  shows  a  mastery  of 
modeling  and  composition  and  is  charged  with  emotion. 

It  has  been  awarded  the  gold  medal  for  sculpture  of  the  Archi- 
tectural League  for  this  year. 

The  group  in  the  foreground: 

On  the  prow  of  the  Good  Ship  Earth,  on  which  we  live  and 
move,  lie  two  great  arms  of  Destiny.  One  points,  and  the  other 
pushes,  its  guidance  of  our  lives.     In  this  group,  upon  the  prow, 

[44] 


[45] 


are  all  our  passions  and  desires,  our  griefs  and  longings,  our 
labors  and  failures,  our  greed  and  our  self-sacrifice,  our  strength 
and  our  weakness.  All  under  the  same  destiny,  not  indifferent, 
but  necessary  to  one  another. 

The  main  composition: 

The  globe  of  the  Earth,  surrounded  by  sprays  and,  at  night, 
by  clouds  of  steam  that  make  it  seem  to  float  in  space,  is  en- 
closed in  four  great  panels. 

First  panel  (facing  south)  : 

Here  are  shown  the  beginnings  of  human  emotions,  those  lower, 
coarser  passions  out  of  which,  through  the  Great  Good  Will, 
somehow  the  higher  ones  have  grown.  Here  are  Sexual  Love. 
Vanity  and  mere  Physical  Parenthood. 

Second  panel  (facing  west)  : 

In  this  panel  the  Strong  Man  begms  to  arise  and  attracts  by 
his  strength  the  Woman.  His  strength  is  not  only  physical  now; 
the  little  wings  beside  his  head  indicate  the  beginnings  of  an  in- 
tellect. Jealousy  follows  him — on  one  side  the  jealousy  of  the 
weaker  man  who  weeps  and  resigns,  and  on  the  other,  the  stronger 
who  prepares  to  fight. 

Third  panel  (facing  north) : 

Here  is  the  struggle  of  human  life,  the  battle  for  existence  and 
for  love.  Here  still  we  have  the  three  types  of  men,  the  Con- 
queror, the  protester  and  the  weakly  resigned.  Here  are  two 
types  of  woman,  too, — she  who  cautions  and  takes  a  hand  in 
life's  problem  and  she  who  clings  and  hides  her  face  from  the 
struggle.     In  her  attitude  is  also  a  suggestion  of  shame. 

Fourth  panel  (facing  east)  : 

Here  we  reach  the  latest  stage  of  our  voyage.  Here  is  high. 
Intellectual.  Spiritual  Love,  indicated  through  the  straightforward 
gaze  into  each  other's  eyes  and  the  tender  hand-grasp  of  the  pure 

[46] 


browed  woman  and  the  helmeted  man.  Here  is  Strong  Youth 
listening  to  the  counsel  of  Age  and  Reason.  And  here  is  the 
Mother  in  the  shadow. 

So,  in  spite  of  the  fatalistic  feeling  in  those  long  arms  of 
Destiny  and  the  grim  sorrow  that  is  felt  throughout,  the  fountain 
of  Earth  is  still  optimistic. 

'*Yet  I  doubt  not  through  the  ages  one  increasing  purpose  runs 
And  the  thoughts  of  men  are  widened  with  the  process  of  the 
suns." 

The  sphinx-like,  brooding  figures  at  the  comers  are  the  god 
Hermes,  used  here  to  mark  the  stages  of  human  destiny  as  he  was 
used  to  mark  the  milestones  of  Rome.  The  scarab  and  the  ser- 
pent add  a  touch  of  occultism  and  mystery. 

At  the  head  of  the  pond,  on  the  forward  wall,  man  struggles 
to  be  free  from  the  toils  of  lower  emotion,  holding  for  support  to 
the  Cosmos,  the  Infinite. 

THE  WATER  SPRITE  COLUMNS.     By  Leo  Lentelli. 

■.^  (For   sketch   of  Mr.   Lentelli,   see  Guardian  Genii,   Court  of 

Universe,   page   16.    See  also  Nations  of  East  and  West,   and 
Aspiration.) 

A  touch  of  the  grace  and  humor  that  are  the  spice  of  ex- 
istence is  given  to  this  court  by  the  playful  Water  Sprite  Columns. 
They  continue,  too,  the  thought  of  the  sea  that  is  appropriately 
indicated  everywhere  in  this  Exposition  that  celebrates  the 
Panama  Canal. 

The  beautiful  water  sprites  grouped  about  the  base  of  the 
columns  are  whimsical,  fanciful  and  delightful,  and  that  charming 
archer  at  the  top  of  the  shaft  is  the  very  sea  spray  itself. 

PRIMITIVE  MAN  AND  WOMAN    (figures  on  top  of 

arcade).     By  Albert  Weinert. 

(For  sketch  of  Mr.  Weinert,  see  under  The  Miner,  page 
63.  See  also  Spandrels,  Court  of  Palms,  and  Philosophy, 
Palace  of  Education.) 

The  arcade  is  surrounded  by  figures  of  man  and  woman  in 

early  stages  of  development.     Above  them  is  the  Cock,  symbol  of 

Immortality,  and,  as  befits  this  Eastern  Court,  of  the  Dawn. 

[47] 


In  the  Forecourt  of 
Abundance 

This  court  lies  between 
the  Court  of  Abundance 
and  the  Marina. 

AQUATIC    LIFE.      By 
Sherry  E.  Fry. 

studied  at  Art  Institute  of 
Chicago  and  Julien  Academy 
and  Beaux  Arts,  Paris.  Pupil 
of  MacMonnies,  Barrias,  Ve- 
riet,  Lorado  Taft.  Held  Na- 
tional Soman  Prize  for  three 
years.  Other  awards.  First 
gained  fame  through  studies 
of  animals  and  American  In- 
dians. His  Turtle  Fountain 
is    widely    known. 

(See  also  all  the  sculpture 
on  and  about  Festival  Hall.) 

This    handsome    denizen 

of  the  ocean  is  also  called 

"The      Goddess      of      the 

Waters." 


BASE  AND  FINIAL  OF  WATER  SPRITE  COLUMNS,  COURT  OF  ABUNDANCE 

[48] 


The  Courts  of  Palms  and  Flowers 

These  minor  courts,  the  Court  of  Palms  and  the  Court  of 
Flowers,  are  called  "the  fairy  courts."  They  are  playful,  gentle 
interludes  among  the  grander  symbolisms  of  the  great  courts. 

The  Sculpture  in  the  Court  of  Flowers 

TTie  Court  of  Flowers  leads  from  the  Avenue  of  Palms  into 
the  Court  of  Abundance  and  lies  between  the  palaces  of  Varied 
Industries  and  Manufactures. 

It  is  indeed  the  Court  of  the  Fairy  Tale  with  its  garlanded 
girls,  its  friendly  animals  and  its  central  Fountain  of  Beauty  and 
the  Beast  set  in  a  garden  of  magical  charm. 

THE   FAIRY    (on   top   of   the    Italian   Towers   at   entrances 
to  Courts  of  Palms  and  Flowers).      By  Carl  Gruppe. 
Pupil   of   Karl   Bitter. 

The  long  oval  of  the  wings,  the  delicate  poise  and  light  grace 
of  these  fairies  combine  with  the  airy  and  graceful  towers  and  add 
a  touch  of  poetry  to  the  courts. 

BEAUTY  AND  THE  BEAST  (Central  Fountain).  By 
Edgar  Walter. 

studied  with  Douglas  Tilden  and  in  Paris.  One  of  the  bril- 
liant group  of  California  artists.  Represented  in  the  Metro- 
politan Museum  of  Art,  New  York.  Made  the  much-admired 
fountain  upon  Riverside  Drive,  New  York  City. 

Any  child  can  tell  us  the  story  that  inspired  this  fountain. 
We  can  imagine  Beauty  refreshing  with  water  the  poor,  faithful, 
fainting  Beast  at  the  moment  before  his  transformation  into  The 
Fairy  Prince.  Older  observers  may  find  in  the  tale  and  the 
statue  a  subtler  symbolism,  but  the  simple  story  will  do. 

Piping  fairy  creatures  girdle  the  fountain  and  enchanted  beasts 
form  a  frieze  about  the  basin. 

[49] 


FLOWER    GIRL    AND    FOUNTAIN    OF    BEAUTY    AND    THE    BEAST, 
COURT  OF  FLOWERS 


[BO] 


THE  FRIENDLY  LIONS  (at  the  portals).  By  Albert 
Laesslie. 

studied  at  Spring  Garden  Institute,  Drexel  Institute,  Penn- 
sylvania Academy  of  Fine  Arts  and  with  Charles  Grafly.  Won 
Stewardson  Prize  and  Cresson  Scholarship.  Bronze  Medal 
Buffalo  Exposition. 

Handsome,  regal  beasts  guard  the  portals  of  the  Court  of 
Flowers.  They  have  been  charmed  into  friendliness  and  bear 
wreaths  of  flowers. 

FLOWER  GIRLS  (in  niches).     By  A.  Stirling  Calder. 

(For  sketch  and  works  of  Mr.  Calder,  see  Fountain  of  Ener- 
gy,  etc.) 

Garland-bearing,  flower-like  maidens  give  name  and  character 
to  the  Court  of  Flowers. 

(For  statue.  The  Pioneer,  at  entrance  to  the  Court  of  Flowers, 
see  page  56.) 


The  Sculpture  in  the  Court  of  Palms 

The  Court  of  Palms  leads  from  the  Avenue  of  Palms  into  the 
Court  of  Four  Seasons  and  lies  between  the  palaces  of  Liberal 
Arts  and  Education. 

With  its  quiet  lines,  its  two  pools  and  glimpse  of  the  distant 
hills,  it  is  one  of  the  most  restful  spots  of  the  Exposition.  Note 
the  beauty  of  the  coloring  applied  upon  the  sculptured  decora- 
tions. 

THE  FAIRY   (top  of  Italian  Towers  at  Entrance). 

(See  description  under  same  title  in  Court  of  Flowers,  page  49.) 

CARYATIDES.      By  John  Bateman  and  A.  S.  Calder. 

(See  sketch  of  Mr.  Bateman,  Caryatides  on  Horticulture 
Palace,  page  61.  For  Mr.  Calder,  see  Fountain  of  Energy, 
page  2,  Nations  of  East  and  West.  etc..  etc.) 

These  whimsical,  pensive  figures,  with  quaint,  bat-like,  elfin 
wings  are  full  of  interest  and  fairy  beauty. 

[51] 


SPANDRELS.      By  Albert  Weinert. 

(For  sketch  of  Mr.  Weinert,  see  under  The  Miner,  page 
63.  See  also  Figures  on  Arcade.  Court  of  Abundance,  and  Phil- 
osophy, Palace  of  Education.) 

One  of  these  decorative  spandrels  in  low  relief  shows  Orpheus, 
the  musician  whose  strains  enchanted  heaven  and  earth;  and  the 
other,  a  listening  Muse. 

(For  statue,  "The  End  of  the  Trail,"  at  entrance  to  the  Court 
of  Palms,  see  page  57.) 


152] 


The  Sculpture  on  the  Avenue  of  Palms 

The  Avenue  of  Palms  is  the  street  that  flanks  the  South  or 
front  of  the  main  block  of  palaces.  It  runs  between  Festival 
Hall,  the  South  Gardens  and  Horticultural  Palace  on  one  side 
and  Varied  Industries,  Manufactures,  Liberal  Arts  and  Educa- 
tion on  the  other. 

The  South  Doorway  of  the  Palace  of 
Varied  Industries 

The  portal  itself  is  in  the  Spanish  Renaissance  style  of  archi- 
tecture and  is  a  copy  of  a  famous  old  doorway  at  the  Hospice  of 
Santa  Cruz,  Toledo,  Spain.  The  sculptured  decoration  is  known 
as  Plateresque,  because  it  suggests  hammered  silver.  The  figures, 
however,  are  by  modern  artists,  as  follows: 

THE  MAN  WITH  THE  PICK   (in  niches).     By  Ralph 

Stackpole. 

Pupil  of  Mercie.  A  young  Californian  much  admired  for 
his  honest  portrayals  of  phases  of  modern  life  and  industry. 
Mr.  Stackpole  studied  the  artistic  aspect  of  workaday  life, 
at  first  hand,  working  as  a  miner  himself. 

(See  also  all  other  figures  this  doorway  and  Youth  on 
columns  Administration  Avenue,  and  kneeling  figure  on  Altar, 
Fine  Arts  Building.) 

This  vigorous  figure  of  young  American  manhood  explains  it- 
self and  indicates  the  grace  and  dignity  of  labor.  . 

THE  SEATED  WORKER  (Keystone  Figure).  By  Ralph 
Stackpole. 

(See  above.) 

TYMPANUM  GROUP:  VARIED  INDUSTRIES.     By 

Ralph  Stackpole. 

(See  above.) 

This  group  does  honor  to  the  varied  labors  of  men  and  women 
through  which  human  progress  continues. 

[53] 


[64] 


THE  PIONEER,  AVENUE  OF  PALMS,  AT  ENTRANCE  TO  COURT  OF  FLOWERS 


[55] 


FROM  GENERATION  TO  GENERATION  (Crowning 
or  Secondary  Group).     By  Ralph  Stackpole. 

(See  above.) 

This  group  indicates  the  passing  of  the  burden  of  industry  from 
the  older  to  the  younger  generation,  throughout  the  history  of 
man. 

THE  PIONEER    (at  Entrance  to  Court  of  Flowers).      By 

Solon  Borglum. 

Mr.  Borglum,  a  native  of  Utah,  himself  lived  on  a  pioneer 
farm.  Pupil  of  Cincinnati  Academy,  where  he  won  scholar- 
ship to  Paris.  Pupil  of  Bebesso  and  Fremiet.  Highly  hon- 
ored work  on  all  former  Expositions.  Among  permanent 
works:  Captain  O'Neil,  Prescott,  Arizona;  Backus  Memorial, 
Packer  Institute,  Brooklyn;  Soldiers'  Monument,  Danbury, 
Connecticut;  "Private  Jones,"  Ljrnchburg,  Virginia;  General 
Mower,  Vicksburg  Battlefield.  Famous  for  studies  of  Western 
and  Indian  life;  his  Lassoing  Wild  Horses,  the  Stampede, 
Border  of  White  Man's  Land,  and  others  being  widely  known. 

The  Pioneer  is  one  of  the  chief  shrines  of  the  Californian's  loy- 
alty. The  dauntless  adventurers  who  conquered  the  wilderness 
and  founded  our  western  civilization  are  properly  appreciated  and 
honored  by  this  splendid  old  man,  rugged,  erect  and  fearless. 
Symbols  of  Indian  life,  the  tepee,  the  canoe,  the  star  are  marked 
on  the  leather  trappings  of  the  horse. 

(For  the  sculpture  within  the  Court  of  Flowers,  see  page  49.) 

Sculpture  on  the  South  Doorways  of  the  Palaces  of 
Manufactures  and  of  Liberal  Arts 

These  doorways,  balancing  each  other,  are  identical.  They  are 
in  the  Spanish  Renaissance  style  and  are  copies  of  ancient  portals. 
TTie  lace  fan  is  especially  beautiful. 

THE  USEFUL  ARTS   (frieze  over  doorway  and  figures  in 

niches  on  each  side).     By  Mahonri  Young. 

studied  at  Art  Students'  League,  New  York  City.  Pupil 
of  Julien,  Colorossi  and  Delacluse  academies,  Paris.  Exhib- 
ited largely.  Winner  of  distinguished  prizes  in  three  branches 
of  art:   painting,   etching,   and  sculpture. 

This  frieze  of  workers  at  the  wheel,   the  anvil,  the  forge  and 

other  tools  of  the  useful  crafts  celebrate  Skilled  Labor,  its  services 

[56] 


VARIED  INDUSTRIES,  TYMPANUM  GROUP,  PALACE  OF  VARIED  INDUSTRIES 

and  rewards.  So,  too,  do  the  highly  decorative  figures  in  the 
niches,  the  Woman  with  the  Distaff  and  the  Man  with  the  Sledge 
Hammer. 

THE  END  OF  THE  TRAIL  (at  Entrance  to  Court  of 
Palms).     By  James  Earl  Eraser. 

studied  at  Art  Institute  of  Chicago,  and  pupil  of  St.  Gan- 
dens,  Beaux  Arts  and  Julien  Academy,  Paris.  Winner  of 
many  first  awards.  Among  permanent  works:  Bust  of  Theo- 
dore Roosevelt,  Senate  Chamber,  Washington;  Bishop  Potter 
Monument,  Cathedral  of  St.  John  the  Divine,  New  York  City; 
John  Hay  Monument,  Cleveland,  Ohio.  Designer  of  the  latest 
United  States  five-cent  pieces.  Well  known  for  studies  of 
Indians. 

In  this  appealing  and  noble  work  an  Indian  brave,  storm-spent 
and  utterly  weary,  has  come  on  his  exhausted  horse  to  the  end  of 
the  trail,  at  the  close  of  a  hard,  long  ride.  A  reminiscence  of 
early  American  history  and  its  traditions  of  courage  and  endurance, 
and  the  pathos  of  the  Indian's  decline.  The  follov^ng  lines  are 
given  by  Mr.  Eraser  as  applicable  to  his  group: 

The  trail  is  lost,  the  path  is  hid  and  winds  that  blow 
from  out  the  ages  sweep  me  on  to  that  chill  borderland 
where  Time's  spent  sands  engulf  lost  peoples  and  lost  trails. 

— Marian  Manville  Pope. 

(For  sculpture  within  the  Court  of  Palms  see  page  51.) 

[57] 


THE  END  OF  THE  TRAIL,  AVENUE  OF  PALMS,  AT  ENTRANCE  TO 
COURT   OF   PALMS 


[6S] 


The  Sculpture  on  the  South  Doorways  of  the 
Palace  of  Education  and  Social  Economy 

This  doorway,  too,  is  modeled  after  the  old  portals  of  the 
Spanish  Renaissance  embellished  with  harmonizing  Byzantine  col- 
umns. The  sculpture  is  modern.  The  globe  crowning  the  door- 
way is  an  effective  touch. 

EDUCATION    (Tympanum  group).     By  Gustave  Gerlach. 

Pupil  of  Karl  Bitter.     Did  striking  work  at  other  Exposi- 
tions,  particularly  the   admired  Minnesota  at   St.   Louis. 

This  group  sympathetically  expresses  the  spirit  of  the  educator. 
It  is  very  colorful  and  full  of  human  interest.  In  one  corner  a 
mother  tenderly  teaches  two  young  children  and  a  little  sister  adds 
her  aid  to  the  wee  brother's  efforts.  The  central  figure,  a  teacher, 
has  the  place  of  honor.  On  the  other  side,  a  scientist  labors 
at  research. 

The  two  wall  panels  of  Education  over  the  minor  entrances  of 
this  building  are  by  the  two  pupils  of  the  Societe  Beaux  Arts 
Architects  and  National  Sculpture  Society,  Mr.  Peters  and  Mr. 
Stea. 


EDUCATION,  TYMPANUM  GROUP,  PALACE  OF  EDUCATION 
[  59  ] 


RECLINING    NYMPH,    FESTIVAL   HALL 


The  Sculpture  on  Festival  Hall 

By  Sherry  E.  Fry. 
(For  sketch  of  Mr.  Fry,  see  Aauatic  Life,  page  48.) 

Festival  Hall,  the  center  of  tbe  inusicaLJi(ai*UiAa£ac{3asiUpn, 
is  in  the  French  Renaissance  style  of  architecture  that  depends  so 
much  on  sculptured  decorations.  These  are  most  harmonious  not 
only  in  their  classic  beauty,  elegance  and  decorative  quality,  but 
also  in  that  they  express  sympathetically  the  moods  of  music. 

The  great  reclining  nymph  and  god  high  upon  the  pylons  seem 
to  be  listening  in  pleasant  relaxation.  The  dancing  figure  crown- 
ing the  minor  domes  has  a  lyric  quality.  In  front  of  the  pylons 
surrounded  by  flowering  shrubs,  we  have,  on  each  side,  a  lovely 
Muse.  One  guards  an  exquisite  Young  Nymph  and  the  other  a 
Boy  Pan  tuning  his  pipe.  This  little  Pan — the  god  of  wild 
nature  and  woodland  music — is  one  of  the  best  liked  figures  on 
the  grounds. 

[60] 


The  Sculpture  on  the  Palace  of 
Horticulture 

This  home  of  gardens  and  orchards — in  French  Renaissance 
architecture — is  appropriately  decorated  in  gay  and  flo>yery  fashion 
with  garlands  and  clusters  and  masses  of  fruit  and  flowers  and 
flower-bearing  nymphs.     The  effect  is  full  of  the  carnival  spirit. 


FRIEZE  AT  THE  BASE  OF  SPIRES.     By  Ernest  Louis 

Boutier. 

A    Parisian    sculptor   who    has    done    notable    work    for    the 
Mexican  government. 

A  garland  of  girls.      A  simple  and  happy  treatment  of  the  deco- 
rative scheme. 


PAIRS  OF  CARYATIDES.     By  John  Bateman. 

studied  in  Pennsylvania  Academy  of  Fine  Arts.  Pupil  of 
Grafly  and  Calder.  Winner  of  two  Cresson  Scholarships.  (See 
also  Caryatides  in  the  Court  of  Palms.) 

TTiese  caryatides  are  repeated  with  good  effect  on  the  Press 
Building  and  the  Y.  W.  C.  A.  Pavilion,  smaller  buildings  in  the 
South  Gardens,  thus  harmonizing  them  with  their  larger  neighbors. 


161  ] 


CBEATION,    AVENUE   OF   PBOOBESS 


[62] 


The  Sculpture  on  the  Avenue  of 
Progress 

The  Avenue  of  Progress  extends  from  the  Plaza  at  the  Fillmore 
Street  entrance  to  the  Marina.  It  runs  between  the  Palace  of 
Machinery  on  the  east  and  the  Palaces  of  Varied  Industry,  and 
Mines  and  Metallurgy  on  the  west. 

Sculpture  on  the  East  Doorways  of  the  Palaces  of 
Varied  Industries  and  Mines  and  Metallurgy 

Here,  on  this  repeated  doorway,  we  have  another  beautiful 
reproduction  of  the  Spanish  Renaissance  with  its  rich,  plateresque 
decorations,  set  upon  a  plain  wall  space.  The  figures  in  the 
niches  are  modern. 

THE  MINER   (figure  in  niches).     By  Albert  Weinert. 

A  distinguished  German-American  sculptor.  Pupil  of  Mel- 
chior  and  Van  der  Stappen.  Represented  by  historical  monu- 
ments throughout  the  United  States.  Made  the  General  John- 
son and  King  Hendrick  in  New  York  State  Park,  Lake  George. 
(See  also  Arcade  figures,  Court  of  Abundance,  and  Philos- 
ophy, Administration  Avenue.) 

The  sturdy  self-respect  of  the  men  who  work  in  mines,  and 
the  importance  of  their  physical  and  mental  vigor  inspired  the 
sculptor  to  this  roundly  modeled,  direct  piece  of  work. 

THE   GENIUS   OF   CREATION    (on   the   plaza   in   front 

of  Machinery  Palace).     By  Daniel  Chester  French. 

Daniel  Chester  French,  the  dean  of  American  sculptors, 
popularly  called  "the  Perfect  Sculptor"  because  he  makes 
no  mistakes  in  composition.  A  true  Greek  in  the  perfec- 
tion of  masses  and  in  finish.  Pupil  of  Dr.  William  Kumner, 
Boston,  and  Thomas  Ball,  Florence.  Widely  known  for  his 
Minute  Man  at  Concord,  Mass.  Among  notable  permanent 
works:  John  Harvard,  Cambridge;  General  Grant,  Phila- 
delphia; Alma  Mater,  Columbia  University;  Millmore  Memor- 
ial, Death  and  the  Sculptor;  Bronze  Doors,  Boston  Public 
Library;  Thomas  Starr  King,  San  Francisco;  Abraham  Lin- 
coln, Lincoln,  Nebraska;  Dr.  Gallaudet  and  Pupil,  Washing- 
ton,  etc.     Has  received  every  possible  honor. 

[63] 


This  work,  like  all  of  Mr.  Frenches,  is  straightforward,  pure, 
intellectually  true,  but  commanding  and  full  of  emotion.  Its  su- 
perb simplicity  is  its  charm. 

The  Genius  of  Creation,  a  majestic  angel  seated  upon  a  rough 
rock,  extends  life  over  the  world.  The  soft,  long  wings  represent 
protection  and  power.  Note  especially  the  beautiful  treatment  of 
light  and  shade;  see  how  the  grave,  kind  face  looks  out  of  its 
heavy  veiling  draperies  in  the  midst  of  a  deep  mysterious  shadow. 
Observe  the  sculptural  quality  of  the  drapery. 

Man  and  Woman  stand  one  on  each  side  of  the  pedestal  rock. 
They  face  the  world  from  different  sides,  but  at  the  back  of  the 
group  their  hands  have  met.  The  serpent  girdles  the  whole,  sug- 
gesting perhaps  the  old  story  of  Genesis,  but  more  symbolic  of  the 
waters  from  which  life  sprang  and  the  encircling  oneness  of  the 
world. 

The  Sculpture  on  the  Palace  of  Machinery 

This  huge  palace,  the  largest  wooden  building  in  the  world, 
is  modeled  after  the  Baths  of  Caracula  and  is  sculpturally  treated 
with  the  massive  ornateness  of  Imperial  Rome. 

THE  POWERS  (figures  on  columns).     By  Haig  Patigian. 

A  Californian  sculptor  of  Armenian  birth,  whose  powerful 
and  sincere  work  is  compelling  general  attention.  Pupil  of 
Marquette.  Member  Soci6t§  des  Artists  Francais.  Among  per- 
manent works:  Martha  Cooper  Memorial,  Monterey;  Dolbeer 
Mausoleum,  San  Francisco;  Dr.  Chester  H.  Bowell,  Fresno. 
Winner  of  competition  for  monument  to  "San  Francisco 
Besurgant." 

These  strong,  virile  figures,  grander  than  men,  represent 
Steam  Power,  Electric  Power,  Invention  and  Imagination,  the  four 
powers  of  might  and  of  thought  that  made  the  contents  of  this 
palace  and  the  progress  they  report.  STEAM  POWER  is  about 
to  force  the  driving-arm  of  an  engine;  ELECTRIC  POWER 
holds  the  mastered  earth  beneath  his  foot  and  the  lightning  in  his 
grasp.  He  wears  the  winged  helmet  of  Mercury,  the  messenger 
of  the   gods,   because   electricity  is  our  modern   messenger.      IN- 

164] 


ELECTBICITY,    PALACE   OF    MACHINEBY 


[66] 


VENTION  bears  the  wreath  of  achievement;  a  birdman  is  about 
to  fly  from  the  sphere  of  earth  he  holds.  IMAGINATION  dreams 
with  closed  eyes;  the  eagle  of  Power  is  beside  him. 

FRIEZES  ON  COLUMNS  (in  vestibule).  By  Haig  Pati- 
gian. 

(See  above.) 

These  vigorous  friezes  in  low  relief  symbolize  the  Genius  of 
Mechanics  and  his  disciples. 

SPANDRELS.     By  Haig  Patigian. 

(See  above.) 

The  decorative  spandrels  on  this  building  combine  a  classic 
treatment  with  a  modern  idea.  They  represent  The  Mechanical 
Arts. 


cc  I 


The  Sculpture  on  the  Marina 

The  Marina  lies  along  the  bayside  from  the  Avenue  of  Prog- 
ress to  the  California  Building.  It  runs  beside  the  North  Gardens 
and  the  North  Walls  of  the  Palaces  of  Mines  and  Metallurgy, 
Transportation,  Agriculture  and  Food  Products. 

The  North  Doorways  of  the  Palaces  of  Mines, 
Transportation,   Agriculture  and 
Food  Products 

This  handsome  portal  with  its  rich  sculptured  design  and  its 
ornate  canopied  niches  is  repeated  on  all  the  palaces  flanking 
the  Marina,  giving  a  finely  balanced  and  beautiful  effect  from 
the  bay.  As  is  appropriate  to  this  water  front,  the  figures  in  the 
niches  are  reminiscent  of  the  olden  days  of  romance  and  adventure 
on  the  Spanish  Main. 

THE  CONQUISTADOR  (central  figure).  By  Allen  New- 
man  Studied  at  National  Academy  of  Design,  New  York.     Highly 

admired  for  significant  monumental  work.     Among  best  known 
permanent  works:     The  Hiker,  a  Spanish-American  war  tribute 
reproduced  in  several  cities;  Triumph  of  Peace,  Atlanta,  Geor- 
gia; Henry  Hudson,  New  York;  Phil  Sheridan,  Scranton,  Pa.; 
Joel   Chandler   Harris,    Atlanta;    Women   of   the    South,    Jack- 
sonville;   the    great    clock,    Night    and    Day,    Harriman    Bank, 
New  York. 
Here  stands   the   grim   adventurer,   the   Captain,   by   land   and 
sea,  the  none  too  scrupulous  but  gloriously  daring  conqueror  and 
explorer  who  came  from  far-off  Spain  in  the  long  ago.     This  great 
figure,   thirteen  feet  in  height,  raised  fifty  feet  in  air,  has  historic 
and  architectural  distinction.      Note  the  beautiful  balance  in   the 
composition,  and  the  rigid  strong  line,  so  characteristic  of  the  un- 
bending master  of  men  and  destiny,  that  extends  down  the  cen- 
ter of  the  figure  from  helmet  point  to  sword  tip. 

THE  PIRATE  DECKHAND.      By  Allen  Newman. 
(See  above.) 

Another  strong  and  interesting  figure  of  the  ancient  "Spanish 
Main."  This  dangerous  and  fearless  sailor  on  the  ship  of 
pirate  or  conquistador — or,  as  often  happened,  both  combined — 
stands  here  revealed  as  small  boys  for  generations  have  tried  to 
visualize  him.  Note  the  fine  decorative  line  of  the  rope  he  holds 
in  his  hands. 

[67] 


1 

[68] 


The  Sculpture  on  Administration 
Avenue 

Administration  Avenue  leads  from  the  Baker  Street  entrance 
to  the  California  Building.  It  runs  between  the  Lagoon  of  Fine 
Arts  and  the  West  Walls  of  the  Palaces  of  Education  and  Food 
Products. 


Sculpture  on  the  West  Walls  of  the  Palaces  of 
Education  and  Food  Products 

This  wall,  called  the  Roman  wall,  is  in  the  classic  spirit  to  ac- 
cord with  the  Fine  Arts  Palace,  which  it  faces  across  the  Lagoon. 

TRIUMPH  OF  THE  FIELD  AND  ABUNDANCE  (re- 

peated  in  niches,  both  Palaces).     By  Charles  R.  Harley. 

Mr.  Harley  is  a  prominent  Philadelphia  sculptor,  noted 
for  his  freedom  and  his  tendency  toward  the  new  school  in 
art.  Received  medal  at  Buffalo  Exposition  for  his  "Mother 
of  Sorrows"   and  his   "Pierrot." 

These  massive  works,  very  full  of  detail,  express  a  feeling  of 
richness  and  success.  The  central  figures,  the  male  representing 
Man  and  the  woman.  Nature,  seem  to  be  riding  in  a  triumph- 
ant pageant,  bearing  their  harvest  of  abundant  achievement. 

YOUTH    (repeated   figure   on    top   of   columns   flanking    the 

half-domes  on  both  palaces).     By  Ralph  Stackpole. 

For  sketch  of  Mr.  Stackpole,  see  page  53.  See  also  figures 
on  South  Doorway,  Varied  Industries.  Figure  on  Altar, 
Palace   of   Fine   Arts. 

Flanking .  as    it   does,    the    half-dome    of    Philosophy    and    the 

half-dome    of    Physical    Vigor,    this    splendid    YOUTH    signifies 

mental   and   bodily   poise   and   perfection,    *'a   sound   mind   in    a 

sound  body." 

PHILOSOPHY  (repeated  figure,  in  the  half-dome  of  Phil- 
osophy, Palace  of  Education).     By  Albert  Weinert. 

See  sketch  on  page  63.  See  Primitive  Man  and  Woman, 
Court   of   Abundance;    Spandrels,    Court   of   Palms. 

[69] 


The  repeated  figure  of  Philosophy  reading  from  the  scroll  of 
life  tells  its  own  message  very  directly  and  has  decorative  grace. 

PHYSICAL  VIGOR  (repeated  figure  in  half-dome  of  Physi- 
cal Vigor,  Palace  of  Food  Products).     By  Earl  Cummings. 

Native  of  Salt  Lake  City,  pupil  of  Douglas  Tilden  and 
Mark  Hopkins  Institute,  San  Francisco.  At  present  professor 
in  Mark  Hopkins  Institute.  Made  Bobert  Burns  statue  and 
the  Conservatory  Fountain,  San  Francisco,  and  other  admirable 
creations   throughout   the   West. 

This  classic  figure,  holding  a  wreath  of  victory  to  his  breast, 
is  not  the  gross  vigor  of  brute  strength,  but  the  lithe,  poised,  re- 
strained and  graceful  physical  power  that  was  the  ideal  of  Greece 
and  is  that  of  modern  youth. 

THE  FOUNTAINS  (within  the  half-domes  of  Philosophy 
and  Physical  Vigor). 

These  lovely  fountains  are  modeled  from  ancient  ones  in 
Italy.  Note  how  charmingly  the  water  itself  is  used  for  decora- 
tive effect. 


I  70] 


Within  the  Small  Connecting  Courts 

These  little  courts  are  really  only  passages  between  the 
larger  ones,  but  their  beauty  of  design,  detail  and  landscape  plant- 
ing have  been  as  carefully  considered. 

THE  COURT  OF  MINES  leads  from  the  Avenue  of  Prog- 
ress to  the  Court  of  Abundance,  and  is  flanked  by  the  South 
Wall  of  the  Palace  of  Mines  and  Metallurgy  and  the  North  Wall 
of  Varied  Industries.  For  description  of  statuary  on  portals,  see 
The  Miner,  page  63. 

THE  FLORENTINE  COURT  leads  from  the  Court  of 
Abundance  to  the  Court  of  the  Universe.  It  is  flanked  by  the 
South  Wall  of  the  Palace  of  Transportation  and  the  North  Wall 
of  Manufactures.  It  is  identical  in  design  with  the  VENETIAN 
COURT,  leading  from  the  Court  of  the  Universe  to  the  Court 
of  Four  Seasons,  flanked  by  the  South  Wall  of  Agriculture  and 
the  North  Wall  of  Liberal  Arts.  These  two  courts  are  exquisitely 
simple,  their  walls  decorated  with  Italian  medallions.  They  are 
enriched  by  the  rear  of  the  great  arches  of  the  main  courts,  for 
description  of  which  see  under  Court  of  Universe,  page  14,  and 
following. 

THE  COURT  OF  THE  SUNSET  leads  from  the  Court 
of  Four  Seasons  to  Administration  Avenue  and  is  flanked  by 
the  South  Wall  of  the  Palace  of  Food  Products  and  the  North 
Wallof  Education^.  For  descriptions  of  portal  and  sculpture,  see 
under  Education  Palace,  page  59. 

VICTORY  (winged  figure  on  gables  of  Palaces,  called  the 
Acroterium).     By  Louis  Ulrich. 

Pupil  of  the  New  York  Academy  of  Beaux  Arts. 

This  noble  Victory,  stepping  forward  supported  by  her  wings, 
extends  the  Crown  of  Success  over  the  works  of  man.  Observe 
the  satisfying  treatment  of  the  wind-blown  draperies. 

[  71  ] 


The  Sculpture  on  the  Palace  of 
Fine  Arts 

The  beautiful  Palace  of  Fine  Arts  is  in  classic  style,  Graeco- 
Roman,  and  represents  the  best  period  of  Roman  art.  The  sculp- 
ture blends  excellently  into  the  feeling  of  the  whole. 

ART  TENDING  THE  FIRES  OF  INSPIRATION 
(kneeling  figure  on  Altar,  seen  from  across  the  lagoon).  By 
Ralph  Stackpole. 

(See    sketcb,    page    53.      See  also   decorations  on  Portal  of 
Varied   Industries   and   on   Administration  Avenue.) 

Art,  a  pure,  reverent  figure,  kneels  as  an  humble  attendant, 
watching  and  guarding  the  fires  of  inspiration. 

The  FRIEZE  UPON  THE  ALTAR  is  the  work  of  Bruno 
L.  Zimm  (see  below). 


ASPIRATION     (large    figure    over    doorway).       By    Leo 

Lentelli. 

(See  sketch  of  Mr.  Lentelli,  page   16.     See  also  Nations  of 
East   and   West,    Oenii,    Water    Sprites.) 

This  figure  is  best  viewed  from  across  the  lagoon,  in  con- 
nection with  the  above.  TTius  Aspiration  is  seen  approaching 
the  kneeling  Art.  This  figure  typifies  the  aspiration  of  the  artist 
for  higher  ideals. 


PANELS  OF  GREEK  CULTURE  (high  around  the  Ro- 
tunda).     By  Bruno  L.  Zimm. 

Pupil    of    Karl    Bitter.      Attracted    attention    by    his    North 
Dakota  at  the   St.   Lonis  Exposition. 

These  low-relief  panels,  done  with  rare  delicacy  and  spirit, 
present  Greek  Culture  and  its  desire  for  poetic  and  artistic  ex- 
pression. The  panels  show  **The  Unattainable  in  Art,"  "Poetry, 
or  the  Triumph  of  Pegasus,*'  the  winged  horse  of  the  poets,  and 

[72] 


PEGASUS    PANEL,    FRIEZE    OF    GREEK    CULTURE,    ON    ROTUNDA, 
PALACE   OF    FINE    ARTS 


"The   Chariot   of   Apollo,"    the    god   of   Music,    Inspiration   and 
the  Sun. 


CLASSIC   ART    (large   figures   in   attic   of   Rotunda).      By 
Ulric  H.  Ellerhusen. 

A  German-American.  Studied  at  Art  Institute  of  Chicago, 
Art  Students'  League  and  Cooper  Institute,  New  York.  Win- 
ner of  the  Borglum  Prize  and  the  Cooper  Union  Medal  for 
composition. 

(See  also  friezes,  following.) 

These  majestic  Greek  Figures  of  Art  are  appropriately  decora- 
tive and  restful.    , 


FRIEZES    (around    flower-boxes    and    around    base    of    Ro- 
tunda).    By  Ulric  H.  Ellerhusen. 
(See  above.) 

Nothing  could  be  more  expressive  of  the  spirit  of  classic  art 
than  these  gracefully  balanced  and  harmonious  friezes  with  their 
gentle  dignity  and  restraint.  Note  the  beautiful  line  of  the  heavy 
garlands. 

[73] 


THE  PRIESTESS  OF  CULTURE,  IN  ROTUNDA 
BEFORE  PALACE   OF  FINE   ARTS 


[74] 


PRIESTESS   OF  CULTURE    (on  columns  inside  the  Ro- 
tunda).    By  Herbert  Adams. 

One  of  America's  foremost  artists.  Pupil  of  Massachusetts 
Institute  of  Technology  and  Normal  Art  School,  Worcester, 
and  of  Mercie,  Paris.  Awards  at  all  great  Expositions.  Vice- 
President  of  Art  Commission  of  New  York,  President  National 
Sculpture  Society.  Works  represented  throughout  the  United 
States.     See  exhibits  Fine  Arts. 

The  serenity  and  intellectual  beauty  of  this  controlled  angelic 
figure  well  express  the  high  mission  of  Culture  upon  the  earth. 


WEEPING  FIGURES  ON  TOPS  OF  COLUMNS.  By 
Ulric  H.  Ellerhusen. 

(See  Classic  Art  and  Friezes,  above.) 

A  beautiful  conception  of  the  humility  that  belongs  to  all  true 
artists!  Here  at  the  outer  edge  of  the  Exposition  Palaces  is  a 
figure  not  of  flaunting  triumph  or  self-satisfaction,  but  instead — 
after  all  is  done — here  stands  Art  weeping  at  the  Impossibility 
of  Achieving  her  Dreams. 


The  Outdoor  Exhibit  Sculpture 

The  statues  standing  under  the  Rotunda,  along  the  colonnade 
and  in  the  gardens  surrounding  the  Palace  of  Fine  Arts  are  part 
of  the  Fine  Arts  exhibit.  Titles  are  to  be  found  in  the  catalogue 
of  Fine  Arts. 


[75] 


THE  PIONEER  MOTHER  MONUMENT,  AT  ENTRANCE  TO  PALACE 
OF  FINE  ARTS 


[76] 


The  Pioneer  Mother  Monument 

(Before  the  Entrance  to  the  Palace  of  Fine  Arts.) 

By  Charles  Grafly. 

Pupil  of  Pennsylvania  Academy  of  Fine  Arts  and  of  Chapu 
and  Damft  in  Paris.  ..Noted  for  Ms  sincerity  and  precise 
sculptural  feeling.  Honors  and  medals  at  Philadelphia,  Chi- 
cago, Atlanta,  Paris  (gold  medal),  Charleston  (gold  medal), 
and  Buffalo  (gold  medal).  Expositions.  Holder  of  the  1913 
Widener  gold  medal  and  of  the  Converse  gold  medal,  Penn. 
Acad,  of  Fine  Arts.  Permanent  works  in  Detroit  and  St.  Louis 
Museum,  Pennsylvania  Academy  and  portraits  and  symbolic 
bronzes   in  many   cities. 

The  superb  monument  to  the  Pioneer  Mother,  set  here  in  a 
place  of  honor,  is  a  permanent  bronze,  the  gift  to  the  State  of  the 
grateful  sons  and  daughters  and  admirers  of  these  noble  mothers 
of  the  West.  It  is  not  part  of  the  Exposition  sculpture  as  such, 
and  after  the  Exposition  period  will  stand  in  the  Civic  Center  of 
San   Francisco. 

Here  the  Pioneer  Mother,  sturdy,  confident,  fearless,  enduring, 
tender  without  weakness,  guides  and  guards  lier  children.  Her 
figure  has  a  wonderful  dignity,  fidelity  and  sculptural  quality.  And 
the  two  children  are  beautifully  natural  and  expressive  of  the  grace 
of  childhood.     The  statue  has  a  splendid  simplicity. 

The  panels  at  the  base  show  the  old  sailing  vessel  and  the 
Golden  Gate,  the  goal  of  desire.  The  decorations  are  conven- 
tionalized oxen  skulls,  indicating  the  long  desert,  strewn  with  car- 
casses of  perished  beasts.  The  garlands  are  of  pine  cones,  leaves, 
cacti  and  other  western  tokens. 

The  pedestal  bears  this  high-spirited  inscription  from  the  pen 
of  President  Benjamin  Ide  Wheeler  of  the  University  of  California: 

Over  rude  paths  beset  with  hunger  and  risk,  she  pressed 
on  toward  the  visio7i  of  a  better  country.  To  an  assemblage 
of  men  busied  with  the  perishable  rewards  of  the  day,  she 
brought  the  threefold  leaven  of  enduring  society — faith, 
gentleness  and  home  with  the  nurture  of  children. 

[77] 


Under  it  is  a  relief  map  of  the  old  emigrant  trails,  secured  by 
the  sculptor  from  the  Historical  Society  of  Des  Moines,  Iowa. 

Note:  This  statue  is  erected  at  a  cost  of  |25,000.  Mr.  J. 
E.  D.  Trask,  Chief  of  Fine  Arts,  P.  P.  I.  E.,  presented  to  the 
Woman's  Board  of  the  Exposition  the  question  of  thus  cele- 
brating the  Pioneer  Mother.  The  Board,  having  already  moth- 
ered the  Traveler's  Aid  and  undertaken  the  care  and  main- 
tenance of  the  California  Host  Building,  could  not  take  up  this 
cause  officially.  But  a  number  of  its  members  formed  the 
nucleus  of  the  Pioneer  Mother  Monument  Association,  a  volun- 
teer organization.  Its  President,  Mrs.  F.  G.  Sanborn,  and 
Honorary  President,  Mrs.  Phoebe  Hearst,  hold  the  same  offices 
on  the  Woman's  Board,  P.  P.  I.  E.  The  necessary  $25,000 
is  being  raised  by  popular  subscription,  largely  aided  by  dona- 
tions from  the  following  organizations:  The  Native  Sons  and 
Native  Daughters  of  the  Golden  West,  the  Auxiliary  Society  of 
Pioneers,  the  Pioneer  Women's  Organization,  and  the  Daugh- 
ters of  Pioneers.  The  school  children  of  California,  under  the 
leadership  of  State  Superintendent  Hyatt,  have  contributed  a 
considerable  sum.  The  subscription  lists  are  still  open  to  all 
who  wish  to  honor  the  thought  of  Brave  Motherhood,  through 
the  Treasurer  of  the  Pioneer  Mother  Monument  Association, 
care  Woman's  Board,  P.  P.  I.  E. 


The  Lamps,  Lanterns,  and  Light 
Standards 

All   the   architectural  lanterns,   lamps,   and   light-bearing  pieces 
are  the  work  of  Emile  Reiss. 


\  78] 


The  Travertine  Finish 

The  beautiful  texture  on  walls  and  statues,  that  gives  them 
their  look  of  age  and  mellowness,  is  an  imitation  of  Roman  Trav- 
ertine, invented  by  Paul  Deniville,  who  also  had  charge  of  the 
modeling  of  the  ornamental  sculpture. 

Panels  inlaid  in  walls  over  minor  entrances  and  other  subsidiary 
details  are  the  work  of  pupils  of  the  Society  of  Beaux  Arts  Archi- 
tects and  the  National  Sculpture  Society. 


The  Enlargement  of  the  Models 

The  successful  enlargement  of  models  depends  in  great  degree 
upon  the  conscience  and  vigilance  of  the  operators  of  the  pointing 
machines,  by  which  enlargements  are  made.  Mr.  Robert  Paine, 
whose  pointing  machine,  devised  at  the  time  of  his  connection  with 
the  Department  of  Sculpture  for  the  World's  Columbian  Exposition 
in  Chicago,  was  chosen  from  many  others,  was  made  Foreman  of 
Pointing.  He  was  aided  by  ninety  assistants  of  the  Department 
of  Sculpture.  The  importance  of  this  part  of  the  building  of  the 
sculpture  in  works  of  great  size  and  number,  such  as  we  have 
produced  for  the  Exposition,  is  very  great. 


Finishing  the  Sculpture 

Far  more  important  than  even  the  enlargement,  which  is  me- 
chanical, was  the  finishing  of  the  statuary.  This  had  to  be  done  by 
sculptors  with  artistic  feeling,  who  could  interpret  on  a  large  scale 
the  small  originals,  making  texture  and  mass  as  the  artist  intended. 
This  work  was  done  under  Mr.  Calder's  direction  by  a  score  of 
young  sculptors,  most  of  whom  were  well  acquainted  with  the 
technique  of  the  masters  from  whose  designs  they  worked. 

These  sculptors  worked  directly  in  the  plaster  staff  in  which  the 
pieces  were  erected,  often  having  to  interpret  in  plaster  or  cement 
models  that  were  made  in  clay. 

r  79  ] 


THE  MURALS 


I  80  I 


Introduction 
The  Color  Scheme  and  the  Murals 

Here  for  the  first  time  mural  painting  has  been  employed  on 
a  large  scale  as  an  essential  part  of  the  beauty  of  an  Exposition. 
Here  for  the  first  time  in  modern  architecture,  mural  decoration 
on  a   large  scale  has  been   employed  outdoors. 

This  broad  and  artistic  innovation  is  part  of  the  originality  of 
using  color  for  the  first  time  on  the  outside  of  Exposition  build- 
ings. For  here,  also  for  the  first  time,  is  an  Exposition  in  colors, 
a  whole  city  painted  from  the  design  of  one  artist. 

Instead  of  the  glare  of  white  or  the  haphazard  of  different 
color  splashes,  we  have  a  superbly  harmonized  plan. 

Jules  Guerin,  the  great  colorist,  whose  paintings,  or  copies  of 
them,  beautify  American  homes  from  shore  to  shore,  planned  the 
enchanting  harmonies  of  the  buildings  and  courts,  to  combine  in 
tone  and  in  contrast  with  the  natural  beauties  of  the  city,  the 
hills,  the  bay,  the  sunshine,  the  opal  mist  and  the  atmospheric 
changes.  They  were  designed  also  to  express  the  vivid  and  artistic 
spirit  of  California  and  of  this  great  celebration. 

The  artists  who  painted  the  murals  were  chosen  by  Mr.  Guerin 

and  their  work  was  carefully  harmonized  to  the  general  scheme. 

Jules  Guerin,  Chief  of  Color  and  Decoration  of  the  Panama- 
Pacific  International  Exposition,  is  a  native  of  Missouri.  His 
works  are  widely  known  in  the  original  and  through  the 
Century  and  Stokes  prints.  He  won  medals  at  all  the  great 
American  Expositions  and  high  mention  at  Paris.  He  is 
holder  of  the  first  Yerkes  medal,  Chicago.  The  mural  paint- 
ings on  the  Pennsylvania  Station,  New  York  City,   are  his. 

How  to  Look  at  Murals 

A  mural  painting  must  be  regarded  as  a  part  of  the  wall 
structure,  a  part  of  the  building  upon  which  it  appears.  It  is 
not  merely  a  picture,  it  is  a  decoration  and  therefore  must  have 
an  architectural  quality.  It  must  merge  into  its  surroundings  and 
interpret  and  enrich  them  without  calling  undue  attention  to  itself. 
It  must  be  broad,  with  flat  masses  and  smooth  surfaces,  and 
must  be  kept  in  harmony  with  the  wall  design. 

[81] 


When  it  combines  the  pictorial  and  poetic  with  the  purely 
decorative,  as  these  do,  it  is  a  triumph. 

To  enjoy  these  murals  as  they  deserve,  we  should  look  at  the 
entire  surface  which  they  adorn,  with  particular  feeling  for  the 
color  plan  of  the  whole. 

The  Men  Who  Made  the  Murals 

Any  collection  of  paintings  by  the  men  who  made  these  murals 
would  be  worth  crossing  the  continent  to  see.  To  those  inter- 
ested in  the  best  of  art,  these  decorations  are  as  important  as 
anything  upon  the  grounds. 

The  artists  who  made  them  have  achieved  the  highest  place 
in  their  profession,  ahd  are  known  and  acknowledged  masters 
among  those  who  appreciate  the  fine  arts.  They  have  won  every 
distinction  that  the  world  could  give  them. 

The  men  in  this  distinguished  group  are  Frank  Brangwyn, 
Robert  Reid,  William  de  Leftwich  Dodge,  Edward  Simmons, 
Frank  Vincent  Du  Mond,  Childe  Hassam,  Milton  Herbert  Ban- 
croft,  Charles  Holloway,   and  Arthur   Mathews. 


182] 


The  Murals  Within  the  Tower  of 
Jewels 

By  William  de  Leftwich  Dodge. 

Native  of  Virginia.  Studied  in  Munich  and  with  Jerome 
in  Paris.  Among  his  high  honors:  Medals  at  the  Paris 
Exposition;  the  Chicago  Exposition;  The  Gold  Fund  Foundation, 
New  York;  the  Beaux  Arts,  Paris;  the  Exhibition  of  Amer- 
ican Artists  and  the  Special  Exhibition  American  Art  Gal- 
leries, New  York  City;  and  at  the  Paris  Salon  where  he  has 
been  hors  concours  since   1905. 

Among  his  notable  murals:  Decorations,  Library  of  Con- 
gress, Washington;  Atrium  of  Court  House,  Syracuse,  N.  Y.; 
Cafe  Martin,  New  York  City;  Auditorium  Annex,  Chicago; 
Empire  Theatre,  New  York  City;  Majestic  Theatre,  Boston; 
Keith's  Theatre,  Philadelphia;  King  Edward  Hotel,  Toronto; 
Hotels  Astor,  Algonquin,  Devon,  and  Waldorf  Astoria,  New 
York  City;  and  designs  for  mosaics,  Hall  of  Becords,  New 
York  City. 

As  the  Exposition  celebrates  the  completion  of  the  Panama 
Canal,  the  great  panels  in  the  triumphal  Tower  are  properly  dedi- 
cated to  the  same  idea.  They  interpret  the  history,  spirit  and 
achievement  of  the  Canal  and  the  service  it  will  render. 

The  two  great  panels,  200  feet  long  by  1 6  feet  high,  are  each 
divided  into  three  parts,  the  central  panels  being  96  feet  long. 
The  underlying  idea  of  the  entire  composition  is  that  the  Canal 
is  the  result  of  the  power,  endurance  and  sacrifice  of  Labor. 

ATLANTIC  AND  PACIFIC  (Central  panel.  West  wall 
within  the  Tower  of  Jewels). 

Between  the  spirits,  of  the  two  great  oceans — one  hovering 
above  the  Eastern  and  the  other  above  the  Western  land— stands 
a  symbolic  figure  of  Labor.  He  unites  the  oceans  with  the  pow- 
erful arms  that  have  just  sundered  the  barriers  between  the  East 
and  West. 

The  Eastern  and  Western  worlds,  each  having  reached  the 
limits  of  the  land,  gaze  across  the  water,  face  to  face,  ready  for 
the  interchange  of  their  arts  and  achievements. 

The  Western  peoples  are  indicated  by  the  pioneers  and  labor- 
ers who  have  wrested  civilization  from  the  wilderness — a  vigorous 
group.     A  touching  appeal  is  made  by  the  figure  of  the  American 

r  83  ] 


Indian,  all  but  crowded  off  of  his  own  hemisphere  in  spite  of 
his  vain  though  courageous  protest. 

The  Eastern  nations,  full  of  poise  and  color,  extend  their  arms 
to  the  Western  in  welcome  and  applause. 

In  the  background  dimly  seen,  are  the  ships  of  all  ages. 


DISCOVERY  (First  side  panel.  West  wall,  within  Tower 
of  Jewels). 

Balboa  the  Spaniard,  the  discoverer  of  the  Pacific,  led  by  the 
Spirit  of  Adventurous  Fortune,  stands  in  awe  "upon  a  peak  in 
Darien,"  gazing  upon  the  magnificent  ocean  he  has  first  seen  in 
this  great  moment.  In  the  background  is  a  ship  of  the  type  that 
then  sailed  the  Spanish  Main. 

Opposite  the  Spaniard,  the  Indian,  the  owner  of  the  land,  sits 
watchfully  upon  his  treasures  with  a  tinge  of  grim  prophecy  in 
his  face,  as  if  he  foresaw  the  end  of  his  people's  power. 

THE  PURCHASE  (Second  side  panel.  West  wall,  within 
the  Tower  of  Jewels). 

This  panel  expresses  the  sale  by  France  to  America  of  her 
control  of  the  Canal  region,  which  was  first  assailed  by  French 
genius.  France,  wearing  the  tricolor,  hands  a  scroll  giving  the 
title  of  possession,  to  her  sister  republic.  America  offers  in  return 
a  bag  of  gold.  The  French  laborers  are  seen  laying  down  their 
tools.  American  workmen,  led  by  the  Spirit  of  Enterprise,  are 
about  to  take  them  up. 

GATEWAY  OF  ALL  NATIONS  (Central  panel.  East 
wall,   within   Tower  of  Jewels). 

The  laborers  swing  open  the  locks  of  the  Canal  that  they  have 
made  and  rest  from  their  noble  toil.  Neptune,  monarch  of  the 
sea,  draws  through  the  locks,  by  flowery  garlands,  the  ships  of 
all  nations  and  ages  in  a  parade  of  triumph. 

The  horses  of  Neptune  and  the  spirits  of  Earth,  Air  and  Fire 
join  the  revels,  while  Winged  Progress  urges  mankind  onward. 

[84] 


DISCOVERY    AND    ACHIEVEMENT,    MURAL    PAINTINGS    WITHIN    THE 
TOWER    OF    JEWELS 


I  85] 


ACHIEVEMENT  (First  side  panel.  East  wall,  within  the 
Tower  of  Jewels). 

Before  the  throne  of  Achievement,  who  sits  crowned,  with 
the  world  in  his  grasp,  the  laborers  who  have  made  the  Canal 
come  for  their  reward.  With  them  are  the  Woman  and  Child 
who  have  given  their  sacrifice  also  to  the  great  work  just  com- 
pleted. 

Balancing  these,  on  the  other  side  of  Achievement,  are  grouped 
his  great  attendants  who  have  helped  to  make  the  Canal  a  fact; 
Knowledge,  Wealth,  Science,  and  Work. 

LABOR  CROWNED  (Second  side  panel.  East  wall,  within 
the  Tower  of  Jewels). 

Labor  is  here  crowned  by  the  Spirit  of  Enterprise.  The  groups 
of  laborers  are  shown  rejoicing  in  work  well  done.  They  are 
led  by  the  soldier,  thus  acknowledging  that  the  American  Army 
led  and  directed  this  great  work  of  peace. 

The  patient  woman  and  her  child  sit  on  the  steps  of  the  throne, 
surrounded  by  flowers  of  tribute. 


86  I 


The  Murals  Within  the  Eastern  Arch, 
Court  of  the  Universe 

By  Edward  Simmons. 

studied  with  Boulanger  and  Lefebvre  in  Paris.  Honored 
■by  prizes,  medals  and  awards  in  Paris  Salon,  Paris  Exposi- 
tion, Bufifalo  Exposition,  New  York  Architectural  League. 
Winner  of  the  New  York  Municipal  Art  Society  Prize  for 
work  on  Criminal  Courts  Building.  Essentially  a  painter  of 
murals,  noted  for  his  imagination  and  clear,  pure  color. 
Permanent  works  upon  the  walls  of  the  Massachusetts  State 
House,  Boston;  the  Library  of  Congress,  Washington;  Minne- 
sota State  Capitol,  St.  Paul;  Capitol,  Pierre,  South  Dakota; 
Court  House,  Mercer,  Pennsylvania;  and  Appellate  Court, 
New  York   City. 

(The  panels  are  47  feet  long  by   12  feet  high.) 

The  two  Simmons  panels  express  the  Romance  and  Adventure 
of  the  Atlantic.     They  are  highly  poetic  in  feeling  and  treatment. 


THE  LURE  OF  THE  ATLANTIC  (Panel  on  South 
wall,  within  Eastern  Arch,  Court  of  the  Universe). 

Here,  led  by  the  Call  of  the  New  World,  are  those  adventur- 
ous explorers  who  braved  the  Atlantic  in  the  search  for  fortune 
or  larger  fields  of  effort. 

First  comes  the  man  of  Atlantis,  who,  according  to  the  old 
legend,  explored  the  ocean  in  the  search  for  Yucatan.  Then, 
the  man  of  the  classic  age,  sharpening  his  sword.  Following  him 
are  two  readily  recognizable  explorers,  representing  Latin  or  South- 
ern Europe,  and  Anglo-Saxon  or  Northern  Europe — those  men 
who  found  our  America  for  us.  Then  comes  the  missionary  priest 
on  his  high  adventure.  Next,  the  artist,  looking  backward  to 
tradition  while  moving  forward.  Last  comes  the  modern  immi- 
grant, fired  with  the  same  fine  courage  that  brought  the  first  ones 
over  the  water.  A  symbolic  figure,  the  veiled  Future,  is  behind 
him,  still  barkening  to  the  onward  call. 

In  the  background  are  the  ships  of  all  times,  from  the  earliest 
vessel  to  the  modern  greyhound. 

[87] 


THE  VISIONS  OF  EXPLORATION  (Panel  on  North 
wall,  within  Eastern  arch,  Court  of  the  Universe). 

In  this  charming  imaginative  panel  are  the  ideals  and  dreams 
that  led  men  onward  to  brave  the  deep,  the  dreams  that  still  lead 
them  to  dare  fortune. 

The  two  Hopes  lead  the  procession.  They  are  Hope  and 
Illusory  Hope,  she  who  casts  bubbles  behind  her  for  men  to  follow. 

Then  comes  Adventure,  stooping  to  pick  up  a  bubble  of  Illusion. 

In  the  central  group  Commerce,  Imagination,  the  Fine  Arts 
and  Religion  proceed  on  their  surer,  stately  way. 

At  last.  Wealth  and  the  Family  show  the  hopes  in  the  heart 
of  the  brave  immigrant  of  today. 

In  the  background  the  Taj  Mahal  and  a  modern  city  indicate 
the  Ideal  and  the  Practical  as  motive  sources  of  human  enterprise. 


188] 


Mural  Paintings  Within  the  Western 
Arch,  Court  of  the  Universe 

By  Frank  Vincent  Du  Mond. 

Mr.  Du  Mond  studied  with  Boulanger,  Lefebvre  and  Con- 
stant in  Paris.  He  has  been  honored  with  medals  at  the 
Paris  Salon,  as  well  as  in  Boston  and  at  the  Atlanta,  Buf- 
falo and  St.  Louis  Expositions.  He  is  having  important 
weight  as  an  instructor  in  the  Art  Students'  League,  New 
York  City,  and  was  Director  of  Fine  Arts  at  the  Portland 
Exposition.  Paintings  by  Mr.  Du  Mond  appear  in  many 
museums  and  collections. 

(The  panels  are  47  feet  long  and   12  feet  high.) 

These  panels  commemorate  the  pioneer  spirit  on  the  continent 

of  America,   the  march   of  civilization   from   the  Atlantic  to   the 

Pacific.      They  take  up  the  story  of  immigration  and  adventure 

where  the  panels  in  the  Eastern  Arch  leave  it. 

They  have  a  narrative  quality  which  is  original  and  novel  in 

mural  art. 

LEAVING  THE  EAST  (Panel  on  North  wall,  within 
Western  Arch,  Court  of  the  Universe.) 

Here  is  pictured  the  source  of  the  Western  spirit — adventurous 
enterprise  upon  a  background  of  stern  tradition.  On  the  bleak, 
glacial  New  England  coast,  its  bare  rocks  covered  with  snow,  a 
youth  bids  farewell  to  his  family.  The  fire  of  adventure  is  in 
his  face.  His  grieving  family  do  not  understand  and  are  bewil- 
dered by  it. 

At  the  head  of. the  westward-bound  procession,  we  see  other 
such  youths,  carrying  with  them  only  their  bare  necessities  on  their 
long  journey. 

In  the  central  group  about  the  old  Concord  wagon  full  of 
household  goods — pray  note  the  grandfather's  clock,  a  pretty  bit 
of  sentiment — the  emigrants  move.  They  leave  behind  them  the 
New  England  meeting-house,  custodian  of  our  early  civilization, 
shown  here  in  the  background.  But  they  take  from  it  with 
them  the  Preacher,  the  Jurist,  the  Schoolmistress,  and  the  Child, 
representing  the  Family  Ideal. 

[89] 


Some  of  these  figures  are  portraits.  The  Preacher  is  drawn 
from  William  Taylor,  a  famous  street  preacher  of  the  early  days 
in  California.  The  Pioneer  is  James  Adams,  better  known  to 
early  Californians  as  "Grizzly"  Adams.  The  Judge  is  James 
Dudley  Field. 

With  them  are  the  old  plains  driver  and  the  trapper. 

The  symbolic  figure  leading  them  is  the  Call  of  Fortune. 

THE  ARRIVAL  IN  THE  WEST  (Panel  on  South  Wall, 
within  Western  Arch,  Court  of  the  Universe). 

This  panel,  full  of  life  and  joy  and  color,  contrasts  with  the 
rigor  of  the  one  opposite.  Here  in  a  volcanic  land,  fertile  and 
balmy,  the  West — where  Conquest  sits  enthroned  amid  fruits 
and  abundance — awaits  the  newcomers.  They  have  reached  their 
goal. 

Here  come  the  Artist,  the  Writer,  the  Scholar,  the  Architect, 
the  Sculptor,  the  Youth,  and  the  Family.  Among  them  may  be 
recognized,  in  the  Author,  Bret  Harte,  in  the  Artist.  William 
Keith,  and  other  figures  well  known  to  Californians. 

At  the  end  of  the  procession  a  tribute  is  paid  to  the  early 
Spanish  civilization  of  the  West.  Led  by  the  Spirit  of  Enlight- 
enment, Padre  Junipero  Serra  is  seen  bearing  one  of  the  missions 
he  founded.  Following  him  is  Captain  Juan  Bautista  Anza  at 
the  head  of  his  soldiers.  Captain  Anza  crossed  the  continent 
on  foot  at  the  time  of  the  Revolution. 


[90] 


The  Murals  in  the  Court  of  Four 
Seasons 

By  Milton  Herbert  Bancroft. 

studied  in  Massachusetts  Normal  Art  School,  Boston;  the 
Pennsylvania  Academy  of  Fine  Arts,  Philadelphia,  and  with 
Courtois,  Callot,  Delance  and  Girardot  in  Paris.  Exhibited 
in  Society  des  Artists  Frangais  and  in  all  large  exhibitions 
in  important  artistic  centers  of  America.  Well  known  as  a 
portrait  painter.  Formerly  Professor  of  Art  at  Swarthmore 
College  and  Instructor  in  Pennsylvania  Academy  of  Fine  Arts. 

The  murals  in  the  Court  of  Four  Seasons  had  to  combine  with 
both  the  classic  formalism  of  the  architecture  and  the  vigor  and 
richness  of  the  main  idea  of  the  year's  kind  abundance.  There 
is  also  an  underlying  ideal,  the  celebration  of  the  achievements 
of  men,  especially  in  the  Fine  Arts  and  artistic  crafts. 

To  all  the  panels  Mr.  Bancroft  gives  the  unifying  title,  PLEAS- 
URES AND  WORK  OF  THE  SEASONS. 

The  treatment  is  broad,  restful,  simple,  finished  and  imposing. 

MAN  RECEIVING  INSTRUCTION  IN  NATURE'S 
LAWS  (large  panel  under  half-dome.  Court  of  Four  Seasons). 

(14  feet  wide  by  18  feet  high.) 

All  the  forces  that  the  Universe  brings  to  man  for  his  wise  use 
and  for  his  service  stand  here  in  dignified  grace,  attendant  upon  the 
child,  their  master.  Fire,  tending  his  flame.  Earth  with  his  fruit- 
age. Water  with  Neptune's  trident.  Life  shielding  her  little  lamp, 
and  even  Death — all  may  serve  him,  if  he  will  harken  to  Nature's 
laws,  which  she  is  here  shown  teaching. 

ART  CROWNED  BY  TIME  (large  panel  under  half-dome. 
Court  of  Four  Seasons). 

(14  feet  wide  by  18  feet  high.) 

Here  Art,  a  superb  goddess,  proudly  awaits  her  crowning  at 
the  hands  of  Time.  The  artist  has  shown  her  sufficient  in  her- 
self, sure  of  her  crown  and  indifferent  to  it.  She  is  surrounded 
by  those  artistic  crafts  that  so  nobly  combine  the  beautiful  and 
the  useful:  Weaving,  Glass  Work,  Jewelry,  Pottery,  Smithery, 
and  Printing. 

[91] 


ABT    CBOWNED    BT    TIME,    MUBAL    PAINTING    IN    THE    COUBT 
OF   FOXJB    SEASONS 


[92] 


SPRING  (Panel  in  the  Four^iaih'mche  of  Spnng.'Gourt  of 
Four  Seasons). 

(14  feet  wide  and  9  feet  high.) 

The  first  panel  shows  Spring's  pleasures.  Here  is  the  Spring 
of  the  poets — the  Spring  of  the  piping  shepherd,  of  flowery  gar- 
lands, of  youth  and  young  love  and  of  the  Muse  who  dreams  high 
dreams  inspired  by  the  lovely  season. 

SEEDTIME  (Panel  in  Fountain  niche  of  Spring,  Court  of 
Four  Seasons) . 

(14  feet  wide  and  9  feet  high.) 

The  second  Spring  panel  is  devoted  to  the  season's  labors. 
Fair  Spring,  sceptered  with  an  Easter  lily,  extends  her  promise 
over  the  budding  land.  The  farmers,  ready  for  the  season's  toil, 
look  out  hopefully  upon  the  year  propitiously  begun. 

SUMMER  (Panel  in  Fountain  niche  of  Summer,  Court  of 
Four  Seasons). 

(14  feet  wide  and  9  feet  high.) 

Here  are  the  joys  of  the  Summer.  Lusty  youthful  athletes, 
with  canoe  and  discus  and  oar,  come  for  the  rewards  of  prowess 
in  the  sports  of  the  outdoor  season. 

FRUITION  (Panel  in  Fountain  niche  of  Summer,  Court  of 
Four  Seasons). 

(14  feet  wide  and  9  feet  high.) 

The  serious  side  of  Sunmier,  her  abundance  and  its  attendant 
labors  are  here  typified  by  the  gleaners  and  their  plentiful  gath- 
ering. 

AUTUMN  (Panel  in  Fountain  niche  of  Autumn,  Court  of 
Four  Seasons). 

(14  feet  wide  and  9  feet  high.) 

Autumnal  gayety  is  indicated  by  the  dance  of  the  vineyard, 
the  old  bacchanal  of  classic  story  that  has  come  down  to  us 
modified  in  the  hearty  revels  of  Harvest  Home. 

[93] 


HARVEST  (Pane!  :n  Fountain  niche  of  Autumn,  Court  of 
Four  Seasons) . 

(14  feet  wide  and  9  feet  high.) 

The  earnest  message  of  the  Autumn  is  expressed  by  the  happy 
calm  of  the  successful  harvesters  laying  their  useful  tribute  at 
the  feet  of  the  glowing  season. 

WINTER  (Panel  in  Fountain  niche  of  Winter,  Court  of 
Four  Seasons). 

(14  feet  wide  and  9  feet  high.) 

The  huntsman  and  the  woodman  bring  their  services  to  the 
Winter,  who  sits  beside  her  brazier,  busy  with  the  distatf,  signify- 
ing Household  Arts. 

FESTIVITY  (Panel  in  Fountain  niche  of  Winter.  Court  of 
Four  Seasons). 

(14  feet  wide  and  9  feet  high.) 

The  happy  year  ends  with  the  holy  joys  of  the  Yuletide.  Youth 
decks  the  world  with  holly  garlands;  the  season  of  the  children 
and  the  home  has  come;  while  for  poetic  souls  the  old  bards — 
in  the  heart  or  in  a  book  beside  the  hearth — sing  the  old  great 
songs. 


L94]j 


The  Murals  in  the  Court  of  Palms 

This  beautiful,  colorful  little  court,  with  its  restful  pools  and 
quiet  richness,  lends  itself  admirably  to  mural  decoration.  The 
lunettes  above  the  portals  merge  perfectly  into  the  general  effect. 

THE  PURSUIT  OF  PLEASURE  (Eastern  Lunette.  Court 
of  Palms,  over  entrance  into  Palace  of  Liberal  Arts). 

By  Charles  W.  Hollovyray. 

studied  in  Washington  University  and  St.  Louis  School  of 
Art.  Distinguished  for  stained-glass  work  as  well  as  for 
murals.  Gold  medal  for  glass  sketches  at  Paris  Exposition; 
cartoons  and  glass  sketches  purchased  by  the  French  govern- 
ment. Murals,  windows  and  decorations  in  Auditorium,  Stein- 
way  Hall,  College  Theatre,  Planters  and  Metropole  hotels, 
Clifton  House,  Mandel's  Caf6  and  Tom  Jones'  Bestaurant, 
Peacock's,  and  Carson,  Pirie,  Scott  &  Co.,  Palmer  and  Hig- 
ginson  residences,  Chicago;  Theatre,  Y.  M.  C.  A.,  and  others 
in  South  Bend,  Ind.;  Court  House  in  Upper  Sandusky,  Ohio, 
and  Fort  Wayne,  Indiana;  Cleveland  National  Bank;  Bihlical 
Institute,  Northwestern  University,  Evanston;  Milwaukee  Post 
Office;  St.  Louis  Art  Museum;  Pennsylvania  Station,  Pitts- 
burgh; Supreme  Court  Boom,  Pierre,  South  Dakota;  Keeley 
Institute  at  Dwight,  Illinois;  Leiter  residence,  Washington, 
D.  C;  Mayor's  residence,  Paintsville,  Kentucky;  Garley  resi- 
dence, Altadena,  California;  Hotel  Charleston,  West  Virginia; 
Bingling   residence,   Baraboo,   Wisconsin. 

(The  lunette  is  22  feet  wide  and  1  I   feet  high.) 

The  graceful,  alluring,  brilliant  figure  of  Pleasure  floats  by, 
just  out  of  reach,  looking  back  with  a  mocking  but  bewitching 
smile  at  her  followers.  The  composition  is  full  of  youth  and 
the  joy  of  life.  In  spite  of  a  touch  of  wistfulness  in  the  faces  of 
those  who  wait  upon  Pleasure,  the  whole  idea  is  gay  and  bright. 
The  artist  does  not  moralize. 

FRUIT    AND    FLOWERS    (Western    Lunette,    Court    of 

Palms,  over  side  entrance.  Palace  of  Education). 

By  Childe  Hassam. 

Studied  in  Boston  and  with  Lefebvre  and  Boulanger,  Paris. 
Winner  of  practically  every  honor  to  which  an  American 
painter  is  eligible.  Noted  for  truth  of  line,  color  and  com- 
position. Medals:  Munich,  Paris  Expositions;  Art  Club  of 
Philadelphia;  Chicago,  Buffalo  and  St.  Louis  Expositions; 
Cleveland  Art  Association;  Carnegie  Institute,  Pittsburgh; 
Pennsylvania  Academy  of  Fine  Arts    (the  Temple  Gold  Medal 

[95] 


and  the  Jennie  Sesnan  Gold  Medal).  Frizes:  Webb  Prize 
and  Carnegie  Prize,  Society  American  Artists;  Boston  Art 
Club;  Carnegie  Institute,  Pittsburgh;  Clarke  Prize,  National 
Academy  of  Design;  Lippincott  Prize,  Pennsylvania  Academy 
of  Fine  Arts;  Worcester  Museum;  Corcoran  Art  Gallery; 
Evans  Prize,  American  Water  Color  Society.  Represented 
permanently  in  Metropolitan  Museum,  New  York  City;  Na- 
tional and  Corcoran  Art  Galleries,  Washington;  Cincinnati 
Museum;  Carnegie  Institute;  Toledo  Museum;  Buffalo  Fine 
Arts  Academy;  Rhode  Island  School  of  Design;  Pennsylvania 
Academy  of  Fine  Arts;  Detroit  Museum  of  Art;  Worcester 
Museum;    Art  Institute  of  Chicago. 

(The  lunette  is  22  feet  at  base,  1  1   feet  high.) 

This  lunette  is  decorative  rather  than  s5anbolic.  It  expresses  a 
feeling,  and  indicates  the  richness  of  California,  its  fruits,  flowers, 
the  free  grace  of  its  abundance.  It  is  Greek  in  its  simplicity  and 
shows  the  clear  charm  of  atmosphere  and  color  of  this  master 
technician. 


THE  VICTORY  OF  CULTURE  OVER  FORCE 
(Lunette  over  entrance  to  Court  of  Four  Seasons,  Court  of 
Palms). 

By  Arthur  M.  Mathews. 

A  native  of  Wisconsin,  Mr.  Matthews  is  now  a  leader 
among  California  artists,  and  is  esteemed  the  foremost  mural- 
ist  in  the  West.  Studied  under  Boulanger  in  Paris.  Formerly 
Dean  of  the  California  School  of  Design.  Winner  of  the  Hop- 
kins Institute  competition  for  best  painting  of  the  Discovery  of 
San  Francisco  Bay.  Distinguished  as  a  draughtsman.  Ex- 
hibited in  Paris  salons  and  Paris  and  Chicago  Expositions. 
Permanent  murals  in  the  Oakland  Free  Library,  the  Lane 
Memorial  Library,  the  New  Masonic  Temple,  the  Taussig  and 
Borel  residences  and  many  others.  Famous  for  his  paintings 
of  Monterey  Bay. 

(The  lunette  is  22  feet  wide  and  1  1  feet  high.) 

In  this  fine  conception  we  see  the  goddess  of  Enlightenment 
spuming  Brute  Force  from  the  path  of  Greek,  Asiatic,  and  Egyp- 
tian culture,  all  of  whom  guide  the  steps  of  the  Child,  the  Cul- 
ture of  our  later  day. 

The  treatment  is  vigorous,  straightforward  and  sincere,  the 
color  delightfully  stimulating,  and  the  decorative  masses  beautifully 
placed. 

[96] 


The  Murals  in  the  Court  of  Abundance 

By  Frank  Brangwyn. 

Frank  Brangwyn  is  generally  conceded  to  l)e  one  of  the 
great  painters  of  all  time  and  the  leading  muralist  of  our 
day.  He  was  born  in  Belgium  and  lives  in  England,  but  is 
a  citizen  of  the  world.  President  of  the  Royal  Society  of 
British  Artists  and  an  honored  member  of  La  Societe  des 
Beaux  Arts,  France;  the  Royal  Academy  of  Milan,  Italy; 
the  Swedish  Royal  Academy;  the  Munich  Secession  and  the 
Association  of  Spanish  Artists.  He  holds  the  Great  Gold 
Medal  of  Honor  presented  by  the  Emperor  of  Austria,  won 
the  Gold  Medal  at  Venice  and  the  Grand  Prize  at  Milan; 
medal  at  the  Chicago  Exposition.  Permanently  represented 
in  the  great  museums  of  the  world,  including  the  Luxem- 
bourg, the  Venice,  Stuttgart,  Munich,  Prague,  Barcelona, 
Pittsburgh,  Chicago,  Sydney,  Wellington  and  Johannesburg 
Museums.  Among  his  mural  decorations:  London  Royal  Ex- 
change; Skinner's  Hall;  Grand  Trunk  Railway  Offices;  Ven- 
ice Exhibition;  Lloyds  Registry,  London;  Cleveland  Court 
House;  decorations  for  L'Art  Nouveau  of  M.  Bing;  private 
residences. 

(The  panels  are  27  feet  high  and  12  feet  wide.) 

If  the  Exposition  had  done  no  more  than  bring  the  Brangwyn 
panels  to  the  American  public,  it  would  have  still  merited  the 
thanks  of  art  lovers.  These  decorative  masterpieces  must  leave 
their  permanent  impress  upon  the  minds  of  all  who  behold  them. 

They  are  placed  in  the  corners  of  the  ambulatory  about  the 
Court.  To  get  the  full  decorative  architectural  value,  stand  well 
back  within  the  cloister  and  view  the  panels  in  their  relation  to 
the  color  plan  of  the  long  gallery.  You  will  see  then,  in  the 
highest  degree,  the  purpose  of  mural  painting, — to  harmonize 
with  the  surroundings  and  glorify  them  by  complete  accordance. 
These  are  flat,  architectural  surfaces  as  well  as  beautiful  pictures. 

The  beholder  must  stand  a  long  while  before  them.  The  no- 
bility of  the  composition,  the  opulence,  warmth,  depth  and  bril- 
liancy of  color,  the  golds  that  seem  to  give  out  light,  the  liquid 
luminous  arrangements  of  blue  upon  blue  should  not  be  passed 
hurriedly,  but  quietly  enjoyed. 


[97] 


THE  WINDMILL,   MURAL  PAINTING   IN   THE  COURT  OF  ABUNDANCW 

[98] 


The  Subjects  of  the  Brangwyn  Murals 

Each  comer  is  devoted  to  one  of  the  Elements:  Earth,  Air, 
Fire  and  Water,  two  panels  to  each.  The  elements  are  treated 
entirely  in  relation  to  humanity,  to  their  actual  services  to  the 
welfare  of  human  beings.  They  are  not  allegorical  but  intensely 
human,  full  of  the  good  red  blood  of  outdoor  toilers.  They 
tingle  with  the  warmth  of  the  earth,  the  spur  of  the  light,  the 
tang  of  the  winds,  the  smell  of  growing  things.  They  are  the 
poetry  of  the  simple. 

Note  the  use  of  old-fashioned  English  flowers,  as  fox-gloves, 
iris,  morning  glory,  wild  rose,  and  harebell  in  the  decorative 
scheme. 


AIR:     Two  Panels. 

1.  The  Hunters. 

The  hunters,  shielded  from  sight  by  the  trees  at  the  edge  of 
the  forest,  let  fly  their  anows.  The  whole  scene  glows  in  the 
ruddy  sunlight  of  late  afternoon.  The  flight  of  the  arrows  and 
the  flying  birds  emphasize  the  thought  of  the  sustaining  air. 

2.  The  Windmill. 

The  sun-gilt  windmill  in  the  midst  of  the  wind-blown  golden 
grain,  the  mounting  kites,  the  dark  wind-clouds  making  way  for 
the  bright  rainbow,  the  wind-tossed  garments  of  the  workers  pass- 
ing by — all  make  this  dazzling  picture  seem  to  quiver  with  the 
life  of  the  wind. 

EARTH:     Two  Panels. 
1.     Dancing  the  Grapes. 

Under  the  generous  vine,  purple  and  green  against  a  lustrous 
blue,  the  workers  gather  the  great  clusters  and  pass  them  down  to 
those  below.  These  trample  out  the  rich  juice  in  the  great  stone 
vat.     Note  the  beautiful  treatment  of  light  and  shadow. 

i:99]  = 


2.     The  Fruit  Pickers. 

In  this  group,  so  wonderfully  composed,  is  the  very  spirit  of 
the  earth's  abundance.  The  fruit  pickers  on  high  ladders,  those 
bending  low  above  the  fertile  earth,  or  bearing  the  burdens  of 
overflowing  baskets,  are  all  aglow  with  strength  and  health  and 
the  warm  light  of  plenitude. 

FIRE:     Two  Panels. 

1.  Primitive  Fire. 

In  the  bite  of  an  early  Autumn  day,  the  workers  gather  for 
warmth  about  their  good  servant,  a  fire.  See  how  alive  and  true 
the  thin  flume  of  woodsy  smoke  mounts  upward  in  the  air. 

2.  Industrial  Fire. 

About  the  kiln,  the  workers  employ  fire  for  industrial  service. 
You  can  see  the  gases  coming  from  the  baking  clay,  in  the 
metallic  colors  of  the  rising  cloud  of  smoke.  Study  its  contrast 
with  the  sky  clouds  behind  it,  to  appreciate  this  artist's  mastery. 

WATER:     Two  Panels. 

1.  The  Net. 

See  the  muscular  force  of  these  hardy  fishermen,  standing  in 
lush  reeds,  hauling  in  the  last  catch  of  the  afternoon.  Observe  the 
wetness  of  the  soft  sea-clouds  that  hang  low  above  the  water. 

2.  The  Fountain. 

Where  the  thin  line  of  water  juts  in  a  graceful  bow  from  the 
spring,  the  people  have  come,  with  their  bright  vessels,  for  water. 
Here,  too,  enjoy  the  liquid  beauty  of  the  sky  and  water  in  the 
background  and  the  wonderful  gradations  of  color. 


[100] 


The  Murals  Within  the  Rotunda  Before 
The  Palace  of  Fine  Arts 

By  Robert  Reid. 

studied  in  Boston  Museum  School,  Art  Students'  League, 
New  York,  and  with  Boulanger  and  Lefebvre  in  Paris. 
Supremely  honored  by  medals  at  Paris,  Chicago,  Buffalo  and 
St.  Louis  Expositions  and  the  Corcoran  Gallery,  Washington. 
Winner  of  the  Clarke  and  First  Hallgarten  Prize,  National 
Academy  of  Design,  and  the  Clarke  Prize,  $1000,  in  the  Cor- 
coran Gallery.  Permanently  represented  in  National  Gallery 
and  Corcoran  Gallery,  Washington;  Allbright  Gallery,  Buffalo; 
Brooklyn  Institute  Museum;  Metropolitan  Museum,  New  York 
City;  Indianapolis  Museum;  Cincinnati  Museum  and  Galleries 
in  Lincoln,  Omaha  and  Richmond,  Nebraska.  Mural  decora- 
tions in  Massachusetts  State  House,  Boston;  Library  of  Con- 
gress, Washington;  Appellate  Court,  New  York  City;  Paulist 
Church,  New  York  City;  High  School,  Springfield,  Massachu- 
setts; windows  for  Rogers  Memorial  Church,  Fair  Haven, 
Massachusetts.  Represented  by  pictures  and  murals  in  notable 
private  collections  and  residences. 

The  Rotunda  or  Belvedere  before  the  Palace  of  Fine  Arts,  is 
called  the  Temple  of  Sculpture.  It  is  one  of  the  eminent  beauty 
places  of  the  Exposition.  The  task  given  the  artist  here  was 
indeed  a  test  of  skill  and  power.  That  it  has  been  well  per- 
formed all  will  testify;  for  looking  upward  into  this  great  dome 
every  beholder  must  be  impressed  by  the  brilliant  decorative  ef- 
fect of  these  paintings  and  their  wonderful  blending  into  a  radiant 
ceiling. 

Mr.  Reid's  work  is  always  distinguished  for  fluent  brightness, 
life,  fervor,  youth  and  joy.     Here  these  qualities  have  full  play. 

The  backgrounds  are  chiefly  golden  and  sunny  blue  to  signify 
the  golden  west  and  its  bright  skies.  On  these  planes,  buoyant 
figures  full  of  motion  float  upon  luminous  clouds. 

These  figures  had  to  be  made  very  large  to  appear  in  proper 
size  when  seen  so  high  overhead.  The  artist  had  to  calculate  to 
a  nicety  the  scale  of  each  in  proportion  to  the  distance  from  the 
eye. 

The  murals  are  in  two  sets  of  four  panels  placed  in  alternating 
order.  One  set  is  devoted  to  the  idea  of  Golden  California,  the 
other  to  Golden  Art. 

(The  panels  are  27  feet  high  and  23  feet  wide.) 

[101] 


THE  FOUR  GOLDS  OF  CALIFORNIA  (Alternate  pan- 
els in  the  Rotunda,  before  the  Palace  of  Fine  Arts) 

The  golden  products  of  the  golden  State  have  inspired  these 
four  brilliant  and  appropriate  panels. 

1.  The  Golden  Poppy. 

California's  State  flower,  the  bright  poppy  that  gilds  her  hills 
in  all  shades  from  pale  yellow  to  vivid  orange,  is  here  celebrated. 
A  beautiful  floating  nymph  with  poppies  in  her  hair  and  a  poppy 
sceptre  has  two  cherubic  attendants,  one  playing  in  a  bank  of 
poppies,  one  wafted  otf  on  a  golden  dream. 

2.  Wheat— The  Golden  Grain. 

A  true  golden  treasure  is  the  valuable  wheat,  here  borne  aloft 
in  triumph  by  another  joyous  figure,  with  her  happy  attendant 
cherubs. 

3.  The  Golden  Fruit. 

The  citrus  fruits,  real  "golden  apples  of  Hesperides"  to  this 
State,  are  honored  in  a  gay  and  exquisite  group,  full  of  grace, 
motion  and  enthusiasm. 

4.  The  Golden  Metal. 

Gold,  the  lure  that  brought  the  brave  '49-ers  to  California,  gold 
that  still  lies  deep  in  her  mountains  and  sparkles  in  her  river 
beds,  is  here  symbolized  by  a  commanding  figure,  showing  the 
mastery  of  this  metal  over  so  much  of  the  work  and  thought 
of  the  world.      Cherubs  guard  cornucopias  of  golden  coin. 

THE  GOLDEN  ARTS  (Alternating  panels  in  the  Rotunda 
before  the  Palace  of  Fine  Arts). 

These  panels  alternating  with  the  Four  Golds,  do  honor  to 
the  Fine  Arts,  as  is  appropriate  to  their  location.  TTiey  are 
highly  ix)etic  in  thought,  and  it  is  interesting  to  note  that  these 
large  groups  still  keep  the  light,  floating,  sparkling  quality  of 
the  smaller  ones. 

[102] 


1.  The  Birth  of  European  Art. 

Beside  the  sacred  fire  sits  the  lordly  infant  Art  of  Europe. 
The  guardian  goddess  and  her  attendants  protect  him.  One  bears 
the  globe  of  Insight  and  Knowledge,  one  the  fairy  wand  of  Fancy, 
one  the  oil  of  Industry  that  feeds  the  sacred  flame,  another  the 
quiet  Cloak  of  TTiought.  A  human  messenger  borne  aloft  in 
his  chariot,  led  by  winged  Imagination,  has  just  received  the 
Torch  of  Inspiration. 

2.  Oriental  Art. 

The  inspirations  of  Oriental  Art  are  pictured  in  this  vivid 
panel.  Here  we  see  warriors  of  ancient  dynasties,  the  record  of 
whose  deeds  form  the  subject  of  much  of  the  art  of  their  descend- 
ants. Here  are  Fu,  the  sacred  dog  and  Fuji,  the  beloved  moun- 
tain. A  Japanese  maiden,  symbol  of  the  womanly  loveliness 
that  inspires  Eastern  as  Western  artists,  sits  beside  the  flowers 
so  important  to  Oriental  feeling.  Above,  the  battling  forces  of 
the  Earth  are  shown  by  a  joyous  knight  on  a  royal  dragon  bat- 
tling with  an  eagle.  This  concept  is  based  upon  a  legend  of 
the  Ming  dynasty. 

3.  Ideals  in  Art. 

This  panel  shows  those  powerful  ideals  that  have  inspired 
the  work  of  artists  from  the  ancient  days  to  our  own.  The  classic 
nymph  gazing  into  a  mirror  is  Beauty,  the  Greek  ideal.  Religious 
Inspiration  is  indicated  by  the  Madonna  adoring  the  Babe;  the 
Heroic,  by  Jeanne  d'Arc,  armed,  upon  her  charger.  The  modem 
maiden  and  her  symbol,  the  peacock,  inspire  artists,  too.  Here 
also  is  Fame  holding  aloft  the  laurel  wnreath,  and  here  are  the 
motive  ideas  of  Honor  to  the  Living  Great  Ones  and  Honor  to 
the  Dead. 

4.  Inspiration  of  All  Arts. 

Music,  Painting,  Poetry,  Sculpture  and  Architecture  here  get 
their  inspiration  from  the  glow  of  the  divine  fire  held  on  high  by 
a  winged  messenger.  Another  heavenly  servitor  draws  aside  the 
curtains  of  darkness. 

[  103  ] 


Murals  in  the  State  and  Government 
Pavilions 

Besides  these  outdoor  murals  of  the  Exposition  itself,  there  are 
attractive  mural  paintings  in  several  of  the  State  and  Foreign  pa- 
vilions. 

Work  of  particular  interest  is  that  of  Miss  Florence  Lundborg 
of  San  Francisco,  in  the  tea  room  of  the  Auxiliary  to  the 
Woman's  Board  of  the  Exposition  in  the  Auxiliary  section  of 
the  California  Building. 

This  mural  panel,  one  of  the  largest  ever  done  by  a  woman, 
represents  the  richness  of  California.  It  takes  as  its  text  the  line 
from  Theocritus,  descriptive  of  Sicily,  '*A1I  breathes  the  scent  of 
the  opulent  summer — the  season  of  fruits."  The  large  panel  is 
supplemented  by  a  series  of  beautiful  medallions  of  fruit  and 
flowers. 


Bf\Y   OF  SAN   FRANCISCO 


MAP,  CENTEB  OF  OBOUNDS 


[104] 


INDEX  TO  THE  SCULPTURE 


ACCORDING 

Pages 


TO    LOCATION! 


Pages 


Administration  Ave.     . 
Avenue  of  Palms      .     . 
Avenuen-of  Progress 
Court  of  Abundance     . 
Court  of  Flowers      .     . 
Court  of  Four  Seasons 
Court  of  Palms     .     .     . 
Court  of  Universe    .     . 
Festival  Hall    .... 
Forecourt  of  A  bundance 
Forecourt  of  Ceres 
Forecourt  of  Stars 
Marina 


69,70 
53-59 
62-66 
40-47 
49-51 
30-38 
51,52 
13-25 
60 
48 
38,39 
26-29 
67,68 

Palace  of  Agriculture       .     .     67, 68 
Palace  of  Education,  South  59 

Palace  of  Education,  West .      69,  70 
Palace  of  Fine  Arts      ,     .     .     72-78 


Palace  of  Food  Products, 

North 

West 

Palace  of  Horticulture 
Palace  of  Liberal  Arts 
Palace  of  Machinery    . 
Palace  of  Manufactures 
Palace  of  Mines,  East 
Palace  of  Mines,  North 
Palace  of  Transportation 
Palace  of  Varied  Industries, 

South 53,54,56 

East 

South  Gardens 

Small  Connecting  Courts 
Tower  of  Jewels, 

At  Base 

On  Tower       .... 

Within 


67,68 

69,70 

61 

56 

64-66 

56 

63 

67,68 

67,68 


2-  4 

71 

4-  7 

8-  9 

10-12 


Abundance  ... 
Adventurer  ... 
Adventurous  Bowman 

Air 

Armored  Horseman 
Altar  Frieze  ... 
Art  Tending  Fires  . 
Aspiration  ... 
Attic  Figures  .  . 
Autumn  .... 
Aquatic  Life  .  .  . 
Beauty  &  Beast  (Fountain) 
Caryatides  .  .  . 
Ceres  (Fountain) 
Classic  Art  .  .  . 
Column  of  Progress 
Conquistador  .     .     . 

Cortez 

Creation       .... 

Dance 

Earth 

Earth  (Fountain)     . 
Early  Ages       .     .     . 
Education    .... 
El  Dorado  (Fountain) 
Elements     .... 
Electric  Power     .     . 
End  of  the  Trail 
Energy  (Fountain  of) 
Frontispiece  and 

Fairy       

Feast  of  Sacrifice     . 

Fire 

Flower  Girls  .  .  , 
Flower  Boxes       .     . 


ACCORDING  TO  SUBJECT: 

Pages 

69       Fountains,       2,  4,  10,  11,  12,  44,  and 

49,  19,  20,  32-37,  39,  70 

Friendly  Lions 51 

From  Generation  to  Genera- 
tion    54,56 


Pages 


8-  9 
28 
22 


72 

72 

72 

33 

33-36 

48 

49-50 

51,61 

39-40 

73 

26-29 

67,68 

5,    7 

62-64 

23,25 

22 

44-46 

40,43 

59 

11-12 

22,24 

64,65 

57,58 

2-  4 
49 

31-33 
22 

50,51 
73 


Genii 16 

Genius  of  Creation  ....  63 

Greek  Culture  (Panels)    .     .  72 

Harvest 31 

Horticulture  (Frieze)       .     .  61 

Imagination 66 

Invention 66 

Man  with  Pick 53,54 

Mermaid 4 

Middle  Ages 41, 43 

Miner 63 

Music       .23,25 

Mutation      .     .     ....     .  44 

Nations  of  the  East      .     .     .  13-14 

Nations  of  the  West     .     .     .  14-15 

Pegasus  Spandrels       ...  17 

Philosopher 8-9 

Philosophy       ......  69 

Physical  Vigor 70 

Pioneer         55,56 

Pioneer  Mother         ....  76-78 

Pirate  Deckhand      .     .     .     .  67, 68 

Pizarro 55,56 

Present  Age 42, 44 

Priest 8-9 

Priestess  of  Culture      ...  74, 75 

Primitive  Man  and  Woman  47 

Rain 31 

Reclining  Nymph     ....  60 
Rising  Sun  (fountain)       .    19, 21, 22 


Pages 

Seasons        32-37 

Seated  Worker 53 

Setting  Sun  (fountain)     .     .  20-22 

Signs  of  the  Zodiac       ...  21 

Soldier 8-9 

Spandrels 33,52 

Spring 83,  34 

Stars 17-18 

Summer 33, 35 

Steam  Power        64 


Triumph  of  the  Field 
Useful  Arts  .  .  . 
Varied  Industries 

Victory 

Water 

Water  Sprite  Columns 
Weeping  Figures 

Winter 

Youth 

Youth  (Fountain  of) 


Pages 
69 

56,57 
53 
71 
22 

47-48 
75 

33,37 
69 

10-11 


INDEX   TO    MURALS 

ACCORDING  TO  LOCATION: 

Page  Page 

In  Court  of  Abundance        .     97-100  Western  Arch,  Court  of  the 

In  Court  of  Four  Seasons    .     91-  94  Universe 89-90 

In  Court  of  Palms       ...     95-  96  In  Rotunda  of  Fine  Arts     .  101-103 

Eastern  Arch,  Court  of  the  Within  Tower  of  Jewels      .     83-  86 

Universe 87-89 

INDEX  TO  SCULPTORS  AND  ARTISTS 


Adams  . 
Altken  . 
Bancroft 
Bateman 
Beach 
Bitter      . 


Page 
.  75 
22 
91 
61 
43 
1 


Page 

Konti 27 

Laesslle 61 

Lentelli       16 

Longman 38 

Lundborg 104 


MacNeil 

Manship 

Mathews 

Newman 

NIehaus 

Paine 


Peters 
Piccirllli 
Putnam 
Reid    .     . 
Reiss 
Roth  .     . 
Rumsey 
Simmons 


Borglum 56 

Boutier        61 

Brangwyn       97 

Bufano        17 

Burroughs 11 

Calder 2 

Cummings 70 

Deniville 79 

Dodge 83 

Du  Mond 89 

Ellerhusen       73 

Flanagan 91 

Fraser 57 

French 63 

Fry 48 

Gerlach       59       Stea 

Grafly 77       TonettI 

Gruppe 49       Ulrich     . 

Guerin 81       Walter    . 

Harley 69       Weinert 

Hassam 95       Weinman 

Holloway 95       Whitney 

Jaegers       31       Young     . 

Jaegers  (August) 33       Zimm      . 


Color  Scheme  and  Murals 
Enlargement  of  Models 
Finishing  the  Sculpture 
How  to  Look  at  Murals 
Introduction        .... 
Lamps,  Lanterns,  etc.     . 
Map  of  Exposition      .     . 


21 
23 
96 
67 
5 
79 
Patiglan 64 


59 
32 

4 

101 

78 

17 

5 
87 


Stackpole 68 

69 

9 

71 

49 

68 

21 

12 

66 

72 


81 
79 
79 
81 

a- 6 
78 

104 


Men  Who  Planned  the  Sculp- 
ture        

Men  Who  Made  the  Murals 
Murals    in    Government    Pa- 
vilions        

Outdoor  Exhibit  Sculpture 
Symbolism  of  Sculpture       .     . 
Travertine  Finish        .... 


1 

82 

104 

75 

1 

79 


MOV 
1 

9S 


W 


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